Re: Bar Fermata at end of system?
Please note that the LSR contains this very example:
http://lsr.di.unimi.it/LSR/Item?id=1
So far, in most cases the LSR already contained the exact solution I was
looking for...
Best regards,
Reinhold
Am 2015-05-17 um 13:51 schrieb Thomas Morley:
2015-05-17 13:37 GMT+02:00 N. Andrew Walsh n.andrew.wa...@gmail.com:
That fixed it, thanks so much! Is this the sort of stuff covered in the
advanced/tweaks sections of the reference, or are they tricks one learns
through practice?
NR 5.4.7 Visibility of objects
Using break-visibility
http://www.lilypond.org/doc/v2.19/Documentation/notation/visibility-of-objects#using-break_002dvisibility
Cheers,
Harm
Cheers,
A
On Sun, May 17, 2015 at 1:26 PM, Nick Payne nick.pa...@internode.on.net
wrote:
On 17/05/2015 20:39, N. Andrew Walsh wrote:
I have a block of music in which the \bar || has a fermata over it, and
which I want to be the end of a system. My Voice for organizing barring and
breaking thus has this line:
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72 \mark \markup { \musicglyph #scripts.ufermata } \bar ||
\break
\time 4/4
}
However, that puts the fermata at the *beginning* of the next system. How
do I get the fermata at the end of the system (ie, floating over the double
bar)?
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72
\once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
\mark \markup { \musicglyph #scripts.ufermata } \bar || \break
\time 4/4 c'1
}
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resetOctaveCheck cannot be removed with a tag
Hi,
I have a movement where a large part at the beginning is later repeated
(transposed a fifth), but occasionally some measures are transposed an
octave up/down to make them playable on that instrument.
I'm trying to store that part into a separate variable and use
resetRelativeOctave for the octave jumps. I'm tagging those
resetRelative and try to filter them out for the first occurrance or for
the repetition. Unfortunately, tagging resetRelatativeOctave and
filtering out with removeWithTag does NOT work. (As a check: Filtering
dynamics works).
Attached is an example.
Any idea where the problem lies and how I can solve it?
I have also tried turning m into a music-function and redefining
resetRelativeOctave before the second call to \m, but that does not
work, either...
Thanks,
Reinhold
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\version 2.19.19
m=\relative c' {
f2-\tag #'I-only \f f |
\tag #'I-only \resetRelativeOctave c'
c2 c
}
\relative c' {
s1*0^second measure should be a jump down
\removeWithTag #'II-only \m
s1*0^second measure should be a jump UP (resetRelativeOctave filtered with tag)
% I try to filter out the resetRelativOctave with a tag, but that does not work. Filtering dynamics works fine!
\transpose f c \removeWithTag #'I-only \m
}
lily_tag_octave.pdf
Description: Zip archive
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Re: Paper size survey
Am 2015-04-23 um 12:05 schrieb k...@aspodata.se: I staple the A3's in the middle with an ordinary stapler (without using it's anvil(?)) on a medium soft board (so the staples gets through) and fold the staple? pins on the inside flat, For this, I can really recommend a special long arm stapler (in German they are called Langhefter, i.e. long staplers) like: http://www.amazon.de/Rapesco-A590FBA3-Langarm-Heftger%C3%A4t-Marlin-schwarz/dp/B000J6FCIU They are not expensive, and you don't have to worry about finding where exactly to put the staples. They can also be adjusted to make A5 brochures (stapling an A4 in the middle for folding). I never regretted buying one. Best regards, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com/ * Open Tools, Software Development, http://www.open-tools.net/ * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Survey: Large scores
Dear Urs, The largest score I have worked on is a full edition of Schubert's German Stabat Mater D. 383: https://gitlab.com/edition-kainhofer/0002_schubert_stabatmater_d383/ (PDF output files are at: https://gitlab.com/edition-kainhofer/0002_schubert_stabatmater_d383/tree/master/out ) The full score is one large lilypond score and at times had ~95 pages. Now, with optimizations, like combining colla parte instruments with the vocal staves, etc. the full score is a 78-page lilypond score in global-staff-size 15. With the critical report and the preface (written in latex, where the lilypond score's pdf is then included) you can find it at: https://gitlab.com/edition-kainhofer/0002_schubert_stabatmater_d383/raw/master/out/TeX_Schubert_StabatMater_D383_Score_Full.pdf With the latest git version of lilypond, even the full scores is generated in just a few seconds. A while ago it took a lot longer! Best regards, Reinhold Am 2015-04-16 um 19:43 schrieb Urs Liska: this is not related to the discussion about the recently improved processing speed, although it may sound related: I'd like to have an idea how many people have already or are regularly dealing with big scores, and maybe I'd like to know what might be the biggest score anyone has successfully created with LilyPond. -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com/ * Open Tools, Software Development, http://www.open-tools.net/ * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double clef when using cueDuringWithClef with a simultaneous clef change
Hi all,
Sorry for the noise, I have now figured it out myself: The cue clef
after the cue notes is actually not a CueClef grob, but a CueEndClef.
Once this is clear, using \once\omit Staff.CueEndClef works perfectly
fine to hide the cue end clef (example attached).
Best regards,
Reinhold
Am 2015-04-09 um 13:45 schrieb Reinhold Kainhofer:
Hi all,
I have a piece, where the Fagotto part is written in tenor clef and
after some measures rests switches to bass clef. Now, when I use
\cueDuringWithClef to cue other instruments during those rests, the
end of the cue notes will display two clefs: one to revert the cue
clef (smaller) and one to make the actual clef change. Attached is a
minimal example.
I have tried everything, like \hide CueClef etc, but I have not found
any way to prevent the second cue clef (to unset the treble cue clef)
from appearing...
Any idea how I can suppress the bass cue clef in this example?
Thanks a lot,
Reinhold
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\version 2.18.2
ObMusic = \relative c'' { c2 c | c c | c c | c c }
\addQuote Ob \ObMusic
\relative c { \clef tenor d1 | R1 | \cueDuringWithClef #Ob #UP treble { R1 \once\omit Staff.CueEndClef } | \clef bass c1 }
cue-during-with-clef.pdf
Description: Adobe PDF document
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Double clef when using cueDuringWithClef with a simultaneous clef change
Hi all,
I have a piece, where the Fagotto part is written in tenor clef and
after some measures rests switches to bass clef. Now, when I use
\cueDuringWithClef to cue other instruments during those rests, the end
of the cue notes will display two clefs: one to revert the cue clef
(smaller) and one to make the actual clef change. Attached is a minimal
example.
I have tried everything, like \hide CueClef etc, but I have not found
any way to prevent the second cue clef (to unset the treble cue clef)
from appearing...
Any idea how I can suppress the bass cue clef in this example?
Thanks a lot,
Reinhold
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\version 2.18.2
ObMusic = \relative c'' { c2 c | c c | c c | c c }
\addQuote Ob \ObMusic
\relative c { \clef tenor d1 | R1 | \cueDuringWithClef #Ob #UP treble { R1 } | \clef bass c1 }
cue-during-with-clef.pdf
Description: Adobe PDF document
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Re: Doubled entries with partcombiner
Dear Urs,
I'm using a tag for those items:
r8 r8 c,8(-\tag #'non-partcombine \pp | % 91
d4) cis8 | % 92
And then in the partcombine call, I filter out that tag:
\partcombine{\removeWithTag #'non-partcombine
\VChorSIMusic}{\removeWithTag #'non-partcombine \VChorSIIMusic}
However, in many cases, the voices can actually be combined, but the
partcombiner simply does not detect this. E.g.
Voice 1:
d2\ c2 | c1\!\ff
Voice 2:
h2\ a4 g | a1\!\ff
Due to the different rhythm, the partcombiner will keep this apart by
default. Some explicit \partcombineChordsOnce solve the double dynamics
issue in this case (and provide better partcombining):
Voice 1:
\partcombineChordsOnce d2\ c2 | \partcombineChordsOnce c1\!\ff
Voice 2:
h2\ a4 g | a1\!\ff
Best regards,
Reinhold
Am 2015-04-08 um 09:35 schrieb Urs Liska:
Am 8. April 2015 08:28:47 MESZ, schrieb Urs Liska u...@openlilylib.org:
Hi all,
what is the most viable approach to suppress all the doubled items like
makuos,
markups
dynamics etc. that are produced by the partcombiner?
TIA
Urs
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Staff ends before \clef, \time and \key
Hi all,
It's been quite a while since I last used LilyPond, and I finally
decided to wrap up the last, huge edition I was working on for quite a
while.
Here is the first issue I'm running into:
If I end a piece with a \bar || and after that only want to indicate a
key/clef/time change, the staff lines stop with the bar line. A typical
use case is in a work with multiple movements to indicate attacca to
the next movement, which is written as a separate \score. Minimal example:
\version 2.19.19
\relative c'' {
c4 a b c
\bar||
\key f \major \time 3/4
}
Output PDF is attached.
Any idea how to keep the staff lines alive until the key/time/clef change?
Thanks,
Reinhold
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\version 2.19.19
\relative c'' {
c4 a b c
\bar||
\key f \major \time 3/4 \clef bass {}
}
staff_end.pdf
Description: Adobe PDF document
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Re: Partcombine erratic behaviour
On 2013-01-10 16:02, Hilary Snaden wrote: The flute staff switches to explicit voices after two bars, That sounds like one of the two flutes has a spanner that is not ended... Partcombine will only merge the voices, if there are either no spanners (cresc./hairpin/text spanners/etc.) alive, or the two voices have exactly the same spanners. If you end e.g. a text cresc spanner slightly different, the voices will NOT be combined. But without any sample code, I can't really tell the cause of what you observe. I recall partcombine being sometimes inflexible, but predictable and robust. I note that some tweaks have been added to partcombine recently, has its default behaviour become less robust? No. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sophisticated SystemStartBar callback needed
On 2013-01-07 20:16, Kieren MacMillan wrote: But here's a screenshot of what I'm getting with soloists plus chorus (this is exactly as desired): And here's the result when there are no soloists in the [frenched] system: In this latter situation, I want the straight bar (which is only present to connect soloists to the chorus in a vocals group) to vanish. You might solve this by setting the bar's collapse-height to a value larger than the vertical extents of the choir staff, but smaller than the choir staff plus one soloist. Then the bar will not be displayed for the choir-only parts. Of course, it will also not be shown if the choir staff is hidden and you only have one or two soloist... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: For those who need new features and bug fixes...
On 2012-12-22 07:18, m...@mikesolomon.org wrote: That said, for musicxml, in easy pieces, you can just export MIDI to musicxml. There's a great tool http://web.mit.edu/music21/ that allows for all sorts of importing/exporting. That's like saying exporting a Word file to pdf is easy pieces: Just export to pure text and then run a2ps on it... MusicXML is capable of handling the full page layout (including all positioning tweas) down to pixel-wise positioning (and even performance data, but that's not relevant for lilypond). Any MusicXML export of LilyPond that does not support the full page layout is probably missing out a huge opportunity for lilypond. After all, MusicXML is nowadays used by publishers to transfer the full score layout from one application to another. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grace notes and ties in multiple voices and staves
On 2012-12-22 19:25, Alex Voice wrote:
I have been setting myself various tasks to see if I can use LilyPond to
its utmost, but some bars of Godowsky (an arrangement of Chopin for
piano left hand)
are stretching me too far for now, even though I am certain that
LilyPond can cope with them in some way.
Wow, that's really quite a piece to typeset! I find it particularly hard
to determine how many voices to use...
I've put a PDF of this section of the printed music on Dropbox
(http://db.tt/TJmlsnCO) too and if anyone is able to explain how I might
exactly reproduce the start of bar 3 (with all its grace notes and ties
– aaargh) I should be very interested and very grateful! Someone will
make it look really easy, I'm sure!
See the attached lilypond code, which should reproduce this.
Are the first three sixteenth notes of that grace note meant to be a
triplet? If so, all the grace commands need to be changed accordingly.
I've had a modicum of success in tweaking the positions of various
fingerings, though even here replicating the precise positioning of
fingerings in bar 1 (particularly in the fourth semiquaver beat) has
proved elusive for the moment.
It seems like positioning fingerings (and preventing collisions for
them) is not really one of the strength of lilypond...
I tried to fix some of the fingering positions, but not all of them. You
should get an idea how to do it, though.
Cheers,
Reinhold
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\version 2.17.7
\language deutsch
\paper {
ragged-right=##f
tagline = ##f
}
global = {
\key des \major
\time 4/8
\mergeDifferentlyHeadedOn
\override Fingering.staff-padding = #'()
}
fup=\once\set fingeringOrientations = #'(up)
fdo=\once\set fingeringOrientations = #'(down)
fri=\once\set fingeringOrientations = #'(right)
PianoRightI = \relative c' {
\global
\voiceOne
es16[( \fdo f-2)- f-1(^\ \fri es-2] des4^1)-\! |
r16 des'8[-^\-1 des16]-1 r des8[--1 des16]-1 |
\change Staff=LHS \appoggiatura { ges,,,16[(^5 es'-2 b'-1 b-4 \change Staff=RHS \once \stemDown des]^2 } b'8--1)\! \noBeam es,8-^1 r \appoggiatura g8^1 f16[(-2 es])-1 |
}
PianoRightII = \relative c'' {
\global
\voiceTwo
s16 \fup as-18[ \fri as-116] s4 |
f16[-1\cresc- ges-2- es-3- f]--2 g[-1- as--2 f-2- ges]- |
\change Staff=LHS \stemDown \set tieWaitForNote = ##t \grace {s16\f es,8~ b'8^~ } \stemUp b es,16[ \change Staff=RHS \voiceTwo des^2 b^3 des]-2 as[ des_2 as_5 des]
}
PianoLeftI = \relative c' {
\global
\clef bass
\voiceOne
b ges16^2^1[ c^5^4 b ges^5^3 c]^4^3 f,[ as f as] |
ces[^2 des^4 ces des^4] b[^3 des^4 b^5 des^4] |
s16 es,8-^5 es16]^5 r es8[-^5 es16]^5
}
PianoLeftII = \relative c {
\global
\clef bass
\voiceTwo
as4_5 f' d8\sustainOn\noBeam f as, des,8 |
des4_5 ges_5\sustainOn |
\set tieWaitForNote = ##t \grace { ges,4~ s16 } ges4 as4\sustainOn |
}
PianoLeftIII = \relative c' {
\global
\clef bass
\voiceTwo
s16 as8[- as16] s16 as as,8_4[^ as as,16_4] |
s8 c8_5 s b |
s2 |
}
\score{
\new PianoStaff
\new Staff = RHS
\new Voice \PianoRightI
\new Voice \PianoRightII
\new Staff = LHS
\new Voice \PianoLeftI
\new Voice \PianoLeftII
\new Voice \PianoLeftIII
}
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Re: Resolving cannot resolve rest collision: rest direction notsetwarnings
On 19/12/2012 17:04, David Kastrup wrote: Finding even obvious things in the documentation isn't always easy if you don't already know what to look for. As I had spent some time earlier looking for this and not found it, I can only state that it wasn't also terribly easy for me to find either. So how could this have been made easier? Does an AJAX search field (currently simply greps through the index) help in this regard (the input field in the upper left corner): http://kainhofer.com/~lilypond/Documentation/notation/ Without that field I would be totally lost in the notation manual. Please note that this version of the manual is just my personal nightly build on my server, and in no way official (and thus should not be used in the future for posting URLs as pointer to questions here) Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem of placing \with {\consists #numbrUP} on lilypond code
On 11/12/2012 02:51, MING TSANG wrote:
I have trouble placing aa=\with {\consists #numbrUP} or bb=\with
{\consists #numbrDOWN} .
I suppose you didn't include the in the actual code, did you?
Right now the test_number.ly compile with out as seen on test_numbr.pdf.
I cannot compile if I add aa to \new voice = soprano
I cannot compile if I add bb to \new voice = alto
I cannot compile if I add bb to \new voice = bass
If I code \new Staff \with {\consists #numbrUP ..
I can see numbered pitch stacked on top of the Staff. Please refer to
test_numbrSA.pdf and test_numbrSA.ly. One other problem the on third
last notes the numbered pitch display in wrong stack order.
Actually, I cannot reproduce that problem. Here it works fine if I write
\new voice=soprano \with {\aa} {...}, like:
nup=\with { \consists #numbrUP }
ndown=\with { \consists #numbrDOWN }
choirPart = \new ChoirStaff
\new Staff \with {
instrumentName = \markup \center-column { S. A. }
shortInstrumentName = \markup \center-column { S. A. }
} \clef treble
\new Voice = soprano \with{ \nup } {\voiceOne \sopranoVoice }
\new Voice = alto \ndown {\voiceTwo \altoVoice }
\new Lyrics \lyricsto soprano { \verseSopranoVoice }
\new Lyrics \lyricsto soprano {\chineseLyrics}
See the attached file for the full code. Notice that you have to place
the \with {\nup} and \ndown where you would put the \with clause for the
voice. If you want, you can leave out the \with, like I did in the alto
voice above, but in my opinion this is harder to read than when you
include the \with.
Cheers,
Reinhold
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\version 2.17.6
\language english
\include include_numbrs.ly
numbrUP = #(make-engraver (acknowledgers
((note-head-interface engraver grob source)
(let* (
(context (ly:translator-context engraver))
(tonic-pitch (ly:context-property context 'tonic))
(tonic-index (ly:pitch-notename tonic-pitch))
(event (ly:grob-property grob 'cause))
(grob-pitch (ly:event-property event 'pitch))
(grob-index (ly:pitch-notename grob-pitch))
(delta (modulo (- grob-index tonic-index) 7))
(name (list-ref '(1 2 3 4 5 6 7) delta))
(newgrob (ly:engraver-make-grob engraver 'TextScript event)))
(if (string= name Hb) (set! name B))
(set! (ly:grob-property newgrob 'text) name)
(set! (ly:grob-property newgrob 'direction) UP)
numbrDOWN = #(make-engraver (acknowledgers
((note-head-interface engraver grob source)
(let* (
(context (ly:translator-context engraver))
(tonic-pitch (ly:context-property context 'tonic))
(tonic-index (ly:pitch-notename tonic-pitch))
(event (ly:grob-property grob 'cause))
(grob-pitch (ly:event-property event 'pitch))
(grob-index (ly:pitch-notename grob-pitch))
(delta (modulo (- grob-index tonic-index) 7))
(name (list-ref '(1 2 3 4 5 6 7) delta))
(newgrob (ly:engraver-make-grob engraver 'TextScript event)))
(if (string= name Hb) (set! name B))
(set! (ly:grob-property newgrob 'text) name)
(set! (ly:grob-property newgrob 'direction) DOWN)
\header {
title = Let There Be Light
subtitle = å¿
å¾ è¦ å
meter = Gently
}
global = {
\key ef \major
\numericTimeSignature
\time 3/4
\tempo 4=86
}
sopranoVoice = \relative c' {
\global
%{29-31%} f8 ef4~ ef8 r8 f16 g16 | af8 g16 f8. ef8 f8 d8 | ef4 r8ef8 g8 bf8 |\break
}
verseSopranoVoice = \lyricmode {
From the be -- gin -- ing, the Fa -- ther had a mag -- nif -- i -- cent
}
chineseLyrics = \lyricmode {
æ è´ è¨ å ç²¾ å¿ ç·¨ å® è ç¶ å 示 æ© è¨
}
altoVoice = \relative c' {
\global
%{29-31%} f8 ef4~ ef8 r8 f16 g16 | af8 g16 f8. ef8 f8 d8 | ef4 r8 bf8 ef8 g8 |\break
}
verseAltoVoice = \lyricmode {
}
tenorVoice = \relative c' {
\global \clef bass
%{29-31%} f,8 ef4~ ef8 r8 f16 g16 | af8 g16 f8. ef8 f8 d8 | ef4 r8 g8 bf8 ef8 |\break
}
verseTenorVoice = \lyricmode {
}
bassVoice = \relative c {
\global
\dynamicUp
%{29-31%} f8 ef4~ ef8 r8 f16 g16 | af8 g16 f8. ef8 f8 d8 | ef4 r8 ef8 ef8 ef8 |\break
}
verseBassVoice = \lyricmode {
}
right = \relative c' {
\global
%{29%} bf ef4~ q16 g16 bf ef8 g8 bf8 | af c ef4~ q16 f16 {ef'8 f8 d8}\\{f, bf4.} | g bf ef8 q8 q8 q8_ r4 |\break
}
left = \relative c {
\global
%{29%} g8. g8. g4. | f8. f8. bf8 bf8 bf8 | ef,8 ef8 ef8 ef8_ r4 |
}
pianoPart = \new PianoStaff \with {
instrumentName = Piano
}
\new Staff = right \with {
midiInstrument = acoustic grand
} \right
\new Staff = left \with {
midiInstrument = acoustic grand
} { \clef
Re: problem of placing \with {\consists #numbrUP} on lilypond code
On 11/12/2012 23:24, MING TSANG wrote: I have a second problen: When I code \nup on \new staff level. numbered pitch stack wrong for the last three note on T.B clef bass . Please refer to png. The reason is that there is no guarantee that at any given moment the notes of the first voice will be processed before the notes of the second voice. In the second-to-last note, apparently the note of the bass is processed before the note of the tenor, so the test scripts are created the other way around... I don't think there is any way to handle this properly at the staff-level... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics to music
On 20/11/2012 16:25, Fr. Michael Gilmary, mma wrote: Hi everybody: Here's a general question that's bothered me for some time ... because I'm not a musician or composer --- when setting lyrics to music, is it ever acceptable to join eighth notes across syllables or even across words? I have been told by a reliable expert (hi Rembrandt!) that joining the eighth notes across syllables/words is never done ... but I have examples like the second one here from a very accomplished composer. Maybe he just isn't familiar with how to prevent his program from joining them. It certainly makes for difficult reading of the lyrics, IMHO. In the 18th and 19th century, melismas were indicated by beams, so back then the eights would never get beamed, unless they were a melisma (i.e. belonged to the same syllable). However, modern and contemporary notation will use the same beaming as for instruments and instead indicate melismas with slurs. So, it's basically a convention and your choice whether you want to use the traditional way (never beam notes across syllables) or the modern notation practice. As a (classical) singer, I have to admit, I'm always confused by the modern notation and sight-reading takes much more effort than with the traditional notation. That might, however, also be due to me being used only to the traditional notation. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bleeding
On 2012-11-18 16:42, Marc Hohl wrote: Check the output in the log file and correct the error. That was too fast, I think. Nope, that's exactly the problem. The file compiles fine on my machine, the log on the console says: warning: already have a beam \clef treble bes16 d f aes bes [ c ] [ d g ] fis, a c d e a d a | Nothing about over-/underfull bars which are mostly the cause of unbroken lines running out of the page boundaries. In this case, the beams are the problem: the [ is placed one note too early, so it messes up the beaming and makes lilypond think that a beam is still going on. Line breaks during beams are disallowed. Cheers, REinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bleeding
On So., 18. Nov. 2012 18:34:46 CET, Francisco Vila paconet@gmail.com
wrote:
2012/11/18 Reinhold Kainhofer reinh...@fam.tuwien.ac.at:
beam is still going on. Line breaks during beams are disallowed.
Not exactly,
{
\time 2/4
\override Beam.breakable = ##t
Doesn't that prove my point: You have to explicitly allow breaks, because by
default they are not allowed.
Cheers,
Reinhold
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Re: parser placement problem [was Re: Lyrics disappear with associatedVoice in a duet]
On 15/11/2012 23:52, David Kastrup wrote: Kieren MacMillan kieren_macmil...@sympatico.ca writes: Hello all, I can get the voice switch to work by (a) reading the NR, where it says \set associatedVoice = two % must be set one syllable early Is there any way we can fix all of the places where the tweak must come one moment earlier than the effect is desired, so that everything can be coded at the right time? I think one will likely have to do this on a case-by-case basis. I don't see that there would be some magical button that could fix every problem (or even an unrelated subset) at once. The problem of the one timestep earlier cases is that they usually modify a dispatcher to send the events to a different context. Now, the \set is evaluated at the same timestep as the following note, so when it is processed, the following (note/lyrics/..) event was already dispatched to one particular context (and thus changing the output context will only affect all later timesteps). So basically there are some separate parts to these issues: 1) the \set is evaluated together with the following note (timestep). As a user, when writing lilypond code, I rather think of \set and \override as something that is between notes. Lilypond (which is moment-based) currently does not have that concept of something between timesteps (that's also the problem that causes grace notes to mess up e.g. clef/timesignature changes unless the grace notes are in all voices). 2) Many thinks in lilypond magically work by simply dispatching events to the correct context. This is an amazing strategy, which makes many thinks incredibly simple (e.g. the part-combiner: it does not manually create chords or so, it simply has four voices and depending on whether the notes can be combined or not, simply dispatches the events to two of them. If they are dispatched to the same voice, you'll get chords automatically.). 3) However, once the events are dispatched, there is no going back to sending them to different contexts. In particular, there is no easy way to redirect the remaining events dispatched to one context to a different context (because you usually don't have a pointer to that other context in the context that processes the event that changes the dispatcher), once the dispatching happened. In most cases, that would just be a workaround, anyway, and complicate the code a lot. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond cheat sheat
On 2012-11-06 23:14, Noeck wrote: many years ago I made a cheat sheet for Lilypond, because I couldn't remember all the syntax by heart. Now, after having used Lilypond for some years and after reading the notation reference again, I've made an updated version, which might be helpful for other users, too. It requires a basic knowledge of Lilypond and aims at putting as much information as possible on one page. Wow, amazing. And incredible how much information you can cram onto one single page! And thanks for sharing it with us. BTW, I wrote a similar cheat sheet a while ago, but aiming at new users, so I didn't try to get everything on the page. The code (latex and lilypond) is under a CC license, too: http://www.edition-kainhofer.com/en/lilypond/details/2111/ https://gitorious.org/lilypond-cheatsheet http://article.gmane.org/gmane.comp.gnu.lilypond.devel/44506/ I think both cheat sheets nicely complement each other. Mine tries to be easy to understand to new users and show them the most important things, while yours is for advanced users and tries to give as much information as possible. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: increase vertical space
On 2012-11-03 22:32, Noeck wrote: Am 02.11.2012 01:20, schrieb Reinhold Kainhofer: On 2012-11-01 22:54, Eluze wrote: Janek Warchoł-2 wrote This may sound surprising, but there are many cases when LilyPond's vertical spacing could be noticeably improved (i admit that most of these cases would matter only to a demanding professional engraver). +999 Except that some very easy cases also matter to normal users. E.g. simply take a look at my empty score sheets and see how they look when you remove all the overrides in the \paper block): http://www.edition-kainhofer.com/en/empty-scoresheets.html I checked it out and can't see any obvious/shocking difference. Some examples: -) Single staff: Without the spacing settings, the first staff is uncomfortably close to the upper edge of the paper, the last staff is uncomfortably close to the footer. Even if there are only very few systems on per page (i.e. lots of stretching involved), the top and bottom margin do not stretch at all, which makes them look even more glued to the top/bottom. -) Full orchestra score: All staves and groups are spaced equally (actually, not equally, some distances seem larger than others, but I fail to see any understandable reason), while in normal scores, the stretching within staff groups should be less than the space between staff groups. -) If you create an organ score with 7 systems per page (not possible in the script, since it is vertically crowded and not really suitable for hand-writing notes into it), the space between the manual and the pedal will be larger than the space between two systems. And all these do not even include pages with multiple scores and title markups between them... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: increase vertical space
On 2012-11-01 22:54, Eluze wrote: Janek Warchoł-2 wrote This may sound surprising, but there are many cases when LilyPond's vertical spacing could be noticeably improved (i admit that most of these cases would matter only to a demanding professional engraver). +999 Except that some very easy cases also matter to normal users. E.g. simply take a look at my empty score sheets and see how they look when you remove all the overrides in the \paper block): http://www.edition-kainhofer.com/en/empty-scoresheets.html I believe there are such cases and therefore I'm glad we have the possibility to use Harms' solution (or others). but if we want to improve the spacing we definitely need some traceable examples! As I run into several bad vertical spacing issues (I have some overrides that work most of the time, but terribly break with a 100-pages full score with 23 instruments and 12 movements...), I started writing a test file containing exactly such examples a while ago. Unfortunately, my time is really constrained currently (had a concert with SS Rattle last saturday/sunday, an upcoming opera premiere in the Theater an der Wien and a normal day job), so I have only some cases for single-staff scores... The staff groups are much more fun (i.e. cause way more trouble to get the spacing richt), but I haven't even started on them. I hope to find more time in the next few weeks/months, but I can't promise anything. Cheers, REinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics Vertical Alignment
On Di., 30. Okt. 2012 19:35:42 CET, Tiresia GIUNO tires...@googlemail.com wrote: But shouldn't be: The syllable should be ranged _right_ under the first notehead? No, ranged left means that the left of the syllable is aligned with the left of the note (i.e. left-aligned). http://www.paratype.com/help/term/terms.asp?code=286 Cheers, Reinhold. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reheaseals with irregular bars
On 2012-10-28 21:35, Jacques Menu wrote:
Hello folks,
I've been using Lilypond for some time, but Beethoven's Trio X für
Klavier, Flöte und Fagott causes me much trouble : \partial is not
usable inside a part, and Thema andante con variazioni contains tricky
rehearsals, like:
After fighting a lot with the problem, I found:
partialInline = #(define-music-function
(parser location nom den mus)
(integer? integer? ly:music?)
#{
\set Score.measurePosition = #(ly:make-moment (- $nom) $den)
You don't want (- $nom) here, since that might skip one measure!
In your case you want to set the measure position at the begin of the
second volta to #(ly:make-moment 0 8), if you want the second volta to
have the same bar number as the first.
If you want the second volta to have the barnumber of the first volta +
1, then I would try to set the measure position at the end of the first
volta to #(ly:make-moment 4 8). I haven't tried it out, but I think that
should work.
I always run into messages such as the following (hence my bar numbers
are wrong) :
Beethoven_WoO37_Fagott_ThemaAndanteConVariazioni.ly:493:16: warning:
Barcheck failed got 79 expect 81
because I don't know how to specify the correct size for the partial
bars involved (by the way, bar number 64 is already wrong):
I suppose bar 25 is already wrong, right?
Here is the code I use:
[...]
\tempoMark #3.0 #Var. V
% -
\repeat volta 2
% -
{
\partialInline #1 #8
Here you don't want to set the measure position to #(ly:make-moment (-
1) 8) of measure 79, since you are already in measure 79. If you set it
to -1/8, like you do, then this means after the next eighth note measure
79 will start...
You rather want to set the measure position to 3/8 of bar 79, which
means that after the eight rest measure 80 will start...
The only reason why \partial sets the measure position to -1/8 is that
the first full bar is supposed to be measure 1.
In all other cases (i.e. inside some piece), you don't ever want to set
the measure position to a negative value, as that will skip a measure in
the measure count.
Cheers,
Reinhold
--
--
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com
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Re: Lyrics Vertical Alignment
On 2012-10-30 00:46, Tiresia GIUNO wrote: is there any reason why Lyrics on the two staves in the attached example is not correctly vertical aligned? Yes, there is a reason. See e.g. Elaine Gould: Behind Bars -- The Definitive Guide to Music Notation (published by Faber Music, 2011), p.439, section Syllable underlay: = SINGLE NOTE PER SYLLABLE Centre each syllable directly under its note. [...] MORE THAN ONE NOTE PER SYLLABLE (INCLUDING TIED NOTES) The syllable should be ranged left under the first notehead. This draws the eye to the right - an important consideration, since the singer always needs to be looking forward. Some editions place all syllables consistently to the left of the note, but, in general, this not helpful. From time to time there may be an aesthetic case for doing so, in order to align vertically either the same text below different staves or different texts below the same voice part. = Since lilypond cannot determine automatically that your case might be that very exception mentioned in the last sentence, it simply uses the default: centering the syllable to the single note in the first staff and left-aligning with the note in the second staff, since there the syllable is assigned to more than one note. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is it possible to change beaming from the \layout block?
On 2012-10-30 02:12, Vaughan McAlley wrote: This code compiles without complaint, but the beams are still in groups of four. What am I doing wrong? Nothing. The \time 4/4 command implicitly sets all the timing properties, so your global values are overwritten and don't have any effect. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: What is the oldest convert-ly available?
On 2012-10-27 01:39, Thomas Morley wrote: 2012/10/27 Mike Blackstock blackstock.m...@gmail.com: There are a few things on Mutopia I would like to upgrade, one of which is version 1.7 I visited http://download.linuxaudio.org/lilypond/binaries/ and the earliest version there is 2.8.8, from 2006. I'm guessing that it will convert versions back to somewhere around version 2.0. Is that about right? Anything before 2.0 is more-or-less non-convertible? Thanks for any confirmations/additional info. -Mike Hi Mike, you could try to install an old version to be found here: http://download.linuxaudio.org/lilypond/source/ I recently tried to compile 2.6.x trying to do some research, but I failed. Actually, if you just want to convert an old file and use it with a new lilypond version, you don't need to install any old version. convert-ly has conversion rules running back to 0.x versions of lilypond. So you can just take the convert-ly of your current 2.14 or 2.16 installation. Now, that doesn't mean that all required changes can be done automatically by convert-ly, but at least it will do all that can be done, and usually tell you about what you need to manually do. So I suppose, you'll still need quite some time to manually adjust what cannot be cone automatically. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Aligning Dynamic/Expressive Marks
On 2012-10-25 06:10, Keehun Nam wrote:
I know this is a novice question and I've tried what the document says
to try but I don't thin its examples relate exactly to this situation
although I'm sure it's been beaten into a pulp in previous discussions.
I need to align poco sf where the sf aligns with the note head. Right
now, the note head is aligned with the left of the poco.
This is actually not that straightforward to achieve, since the dynamics
are centered on the notehead. If you need some text to the left of the
dynamic, then the alignment point needs to be calculated explicitly. The
attached file does exactly this (adapted from a LSR snippet).
Cheers,
Reinhold
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\version 2.17.0
% calculate x-alignment based on attribute text + dynamic text
% this has to be a markup-command to get stencil-extent based on (interpret-markup layout props ...)
#(define-markup-command (center-dyn layout props pre-text dyn post-text)(markup? string? markup?)
x-align on center of dynamic with pre- and post-texts
(let* (
(pre-stencil (interpret-markup layout props (markup #:normal-text #:italic pre-text )))
(post-stencil (interpret-markup layout props (markup #:normal-text #:italic post-text)))
(dyn-stencil (interpret-markup layout props (markup #:dynamic dyn)))
(pre-x (interval-length (ly:stencil-extent pre-stencil X)))
(dyn-x (interval-length (ly:stencil-extent dyn-stencil X)))
(post-x (interval-length (ly:stencil-extent post-stencil X)))
(x-align
(* (-
(/ (+ pre-x (/ dyn-x 2)) (+ pre-x dyn-x post-x) )
0.5) 2)
)
)
(interpret-markup layout props (markup #:halign x-align #:line (#:normal-text #:italic pre-text #:dynamic dyn #:normal-text #:italic post-text)))
))
% define a 'new' attributed dynamic script
#(define (make-attr-dynamic-script pre dyn post)
(let ((dynamic (make-dynamic-script (markup #:center-dyn pre dyn post
(ly:music-set-property! dynamic 'tweaks (acons 'X-offset 0 (ly:music-property dynamic 'tweaks)))
dynamic))
pocosf = #(make-attr-dynamic-script poco sf )
\relative c'' { c4\pocosf r r c\pocosf }
\relative c'' { c4\sf r r c\sf}
poco-sf.preview.pdf
Description: Adobe PDF document
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Re: Documentation figured-bass
On 2012-10-23 00:13, Noeck wrote: Hi, the last two snippets on this page are identical, aren't they? http://lilypond.org/doc/v2.16/Documentation/notation/figured-bass Is that a problem that only occurs in older versions? Yes, that was one problem that I fixed a while ago... Should the documentation be adapted? Apparently, yes. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hairpins
On 2012-10-21 18:04, David Kastrup wrote: Phil Holmes
em...@philholmes.net writes:
Apart from using parallel spacer rests, is there any way to make a
hairpin only one note long?
You don't mean \accent?
I think he really means a decrescenco hairpin on one note (which
obviously cannot be found in piano music, but is quite common in vocal
or string music).
I.e. something like (in these examples, the measures are quite short, in
reality, these measures in the scores take at least twice the horizontal
space as these examples do):
\new Voice \relative c'' { { c1 } { s2\ s\!} }
or:
\new Voice \relative c'' { { c1 } { s2 s4..\ s16\!} }
or even (and no, this is NOT the \expressivo articulation):
\new Voice \relative c'' { { c1 } { s2\ s4..\ s16\! } }
Cheers,
Reinhold
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Re: Lilypond-Book ignores \iffalse (How to uncomment?)
On 29/09/2012 23:51, Francisco Vila wrote: 2012/9/29 Hartmut Leister haleis...@gmx.de: Hello Lilyponders, lilypond-book is ignoring the block comments I'm using in LaTeX-Code with \iffalse + \fi, thus compiling the lines in between. How can I uncomment a set of lines? Those uncommented lines should not be compiled by pdfLatex and lilypond-book I'm writing a song book and for error finding I dont't always want to compile the whole book... As far as I know, lilypond-book always processes the whole file. What I'd do in this case, is to put the part which is to be handled differently in a separate file. Include this file with \include but don't process it with lilypond-book. Instead, process all other files. lilypond-book is able to handle block comments properly (e.g. !-- ... -- in html, @c in texinfo, etc.) However, so far lilypond-book did not recognize \iffalse sections as block comments, because \iffalse is only a workaround for the missing concept of block comments in LaTeX. Nonetheless, I've now created a patch that makes lilypond-book recognize \iffalse sections as block comments and ignore all snippets inside \iffalse: http://code.google.com/p/lilypond/issues/detail?id=2875 Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
How to reserve more space for fermata mark (to prevent large vertical shifts)
In the attached sample file, I have a fermata mark on a baline.
Unfortunately, the notes after the barline are quite high above the
staff, causing the fermata to move up even further:
\relative c''' {
R1 \mark \markup { \musicglyph #scripts.ufermata }
a4(^rit. b c) r
}
Does anyone know a way to make the mark reserve more horizontal space
(i.e. shift the following notes to the right) so that the fermata is
placed directly above the staff?
Thanks,
Reinhold
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com
\version 2.17.0
\paper {
tagline = ##f
}
% Is there any way to reserver more space for the mark, so
% that it does not have to be shifted up so much.
% The solution needs to work both in the full score (i.e.
% multiple staff groups with a \mark in each staff) and
% in each instrument's score (in larger font)
\relative c''' {
R1 \mark \markup { \musicglyph #scripts.ufermata }
a4(^rit. b c) r
}
lilypond-fermataMarkup-barline-vertical-shift.preview.pdf
Description: Adobe PDF document
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Re: How to reserve more space for fermata mark (to prevent large vertical shifts)
On 05/10/2012 19:30, Keith OHara wrote: Rehearsal marks are one of the things that has extra-spacing-width set to (inf . -inf) so that it reserves no space during note-spacing \once\override Score.RehearsalMark #'extra-spacing-width = #'() Thanks a lot! Actually, I have to set the extra-spacing-width to '(0.3 . 0.3) to prevent the ledger line from still shifting the fermata up. But with that settings, things work like a charm! Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Articulation with parenthesis-open and with parenthesis-close?
On 28/09/2012 12:06, Rutger Hofman wrote:
in my current score, there are long, consecutive lists of notes with
articulations (dashes) in parentheses. Now it would improve
readability a lot if the first of these parenthesized dashes has only
a parenthesis-open, the last has only a parenthesis-close, and the
rest has a regular parenthesis. I have seen this in printed music more
than once.
Coincidentally, I had the same problem the day before yesterday. Here is
what I have (using the \parenthesize command and modifying its behavior):
%
#(define-public (parentheses-item::calc-parenthesis-left-stencils grob)
(let* ((font (ly:grob-default-font grob)))
(list (ly:font-get-glyph font accidentals.leftparen) empty-stencil)))
#(define-public (parentheses-item::calc-parenthesis-right-stencils grob)
(let* ((font (ly:grob-default-font grob)))
(list empty-stencil (ly:font-get-glyph font accidentals.rightparen
parenthesizeLeft = #(define-music-function (parser loc arg) (ly:music?)
#{
-\tweak ParenthesesItem #'stencils
#parentheses-item::calc-parenthesis-left-stencils
-\parenthesize $arg
#})
parenthesizeRight = #(define-music-function (parser loc arg) (ly:music?)
#{
-\tweak ParenthesesItem #'stencils
#parentheses-item::calc-parenthesis-right-stencils
-\parenthesize $arg
#})
%
The \parenthesizeLeft and \parenthesizeRight work exactly like
\parenthesize, i.e.:
e4.-\parenthesizeLeft-\ e c4.-\parenthesizeRight- | % 3
HTH,
Reinhold
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
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Re: slur to 2 alternatives
On 2012-09-26 00:25, David Kastrup wrote: Urs Liska li...@ursliska.de writes: before you try this out, please search for a \shape Slur function. We discussed it here on the list, but as far as I know it is now also built in. It _massively_ simplifies the handling of the control points. And judging from your screenshot you will need it because it can correctly handle the parts of a broken slur. Incidentally: was there a rationale for making it an override rather than a tweak applied to a slur or phrasing slur? Probably because the first kind of hardcore default-modification that we teach newcomers are overrides. We hardly ever mention tweaks. In fact, even I am usually using \once\override instead of a \tweak, which would be much easier and more correct in most cases. It's simply that I have got used to overrides, but not to tweaks. The other reason in my case is that sometimes I need two or more overrides at once, which I store in a variable (poor-man's command) or I need a parameter, so I need to use a music function. AFAIK, both cases cannot easily be done with tweak... Another reason against tweaks is that they tear apart the note and the articulation, so that it is much harder later on (during the proof-reading phase) to read at a glance. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text font sizes
On 17/09/2012 12:15, Urs Liska wrote: How can I determine (or set) the absolute point size of fonts that LilyPond uses for text elements (in my current case the page numbers)? It does not use an absolute font size. The size is relative to the staff size. The issue at hand is that I compile a volume from textual pages and LilyPond scores. The complete book will be created with LaTeX, the scores included with pdfpages. Of course I want the info in the header and footer be formatted the same way in both parts. There would be another approach I could think of, but which I'm slightly scared of. If I get a hint how to achieve it I might go this way instead (but I'd be interested in an answer to my original question anyway ...): I could compile the LilyPond scores without headers and footers and create these with LaTeX throughout the book. But there are two things: - I'd have to remove headers and footers without affecting the layout of the scores that have already been finished. You might call includepdf with the crop option (which is passed to includegraphics) to cut off the existing header/footer and then let latex do the rest. The pdfpages documentation mentions this. - I'd have to find the solution to crop and place the LIlyPond pages so they don't interfere with LateX's page margins (or is there an option to pdfpages that I didn't find so far and that allows to print headers and footers _on top_ of the included pages?). The following QA solves that issue: http://tex.stackexchange.com/questions/50388/attached-external-pdf-file-is-not-showing-page-number Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text font sizes
On 17/09/2012 13:11, Urs Liska wrote: Am 17.09.2012 12:59, schrieb Reinhold Kainhofer: It does not use an absolute font size. The size is relative to the staff size. Thanks for this information. Of course I realize that it is relative to the staff size. But in the end Lily _has_ to print text at a specific font size, isn't it? So there's no way to determine the actually used font sizes? This means if I want identical text elements from other programs I do have to find out by trial and error ... One can certainly deduce the font size from the staff size and the font-size of the markup, but I have no idea how exactly. One other way to make sure the headers/footers are to your liking is to adjust the header/footer markups to use \abs-fontsize instead of the \large etc. This has the advantage that a change to the staff size does not change the headers/footers. The disadvantage is that you need to copy all header/footer markup fields (i.e. the (even|odd)(Header|Footer)Markup variable) in the \header block to your (include) files and adjust them. so they don't interfere with LateX's page margins (or is there an option to pdfpages that I didn't find so far and that allows to print headers and footers _on top_ of the included pages?). - I'd have to find the solution to crop and place the LIlyPond pages The following QA solves that issue: http://tex.stackexchange.com/questions/50388/attached-external-pdf-file-is-not-showing-page-number Thanks for these hints (sorry, this is still quite confusing for me, so I may ask unnecessary questions every now and then). I think this will be enough to get me going. Basically, it says that pdfpages DOES print the latex header/footer on top of the included pdf pages. The reason why you don't see any headers/footers is that pdfpages explicitly sets the page style to empty (i.e. no header/footers) for the included pages. So to get the latex headers/footers, you have to restore the default page style for each included page (using the pagecommand option). Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: update all files with convert.ly
On 2012-09-04 11:37, David Kastrup wrote: Stefan Thomas
kontrapunktste...@gmail.com writes:
Dear community,
how can I update all my ly files (including subfolders) with one
command?
Depending on operating system, something like
find -name '*.ly' -exec convert-ly -ed {} \;
might do the trick. Needless to say, create a backup first.
Plus, if convert-ly is not able to convert a particular feature
automatically, it only prints out a warning that you need to fix
something manually, but you'll have no indication in which file and
where exactly you have to do some manual work
Cheers,
Reinhold
--
--
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
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Re: PDF information issues
On 2012-09-05 23:39, Nick Payne wrote: On 06/09/12 04:25, Christopher R. Maden wrote: Poking around my system today, I noticed two interesting things about the PDFs generated by LilyPond. 1) There is no metadata associated with the PDF. Well, the producer and creator are set to the appropriate software. However, when a top-level title is available (for a book or a score), it would be cool to embed that in the PDF. Which version? In 2.14 and 2.16 the title, subtitle, etc. should be added as metadata automatically. You can put metadata fields in the header block, though this doesn't seem to be documented in the manuals. See example below. The fields prefaced with 'pdf' are metadata that doesn't appear in the printed output. There are usually not needed in most cases. They allow you to insert metadata to the pdf file that are different from the displayed title etc. If you simply want the displayed title, then you don't have to do anything, lilypond will automatically add the top-level header fields as metadata (Note that header blocks of a \score or a \book are NOT used for metadata, though!) Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypondfile
On 2012-08-28 07:09, pabuhr wrote: Is there a way to generate an eps file directly as for a ps file? I need the bounding box to include the exact output into latex (I'm not using pdflatex). I tried manually converting the ps to eps: ps2pdf generates a file that is unusable (go figure), and convert generates a low quality image (maybe one of the many parameters can fix this). Using command-line option backend=eps does generate a eps file but it's not the same as the original because it is for lilypond-book I see no reason why there should be a difference. There is a small shift left and up that is different from lilypondfile, which is what I was previously using. I can compensate in latex. lilypond -dbackend=eps -daux-files=#f file.ly should be what you are after... Perfect, except it still generates a PDF file, which I don't need and I could not find an command-line option to prevent the PDF from being created. But that's what a Makefile is for: I just delete the PDF. Lilypond also has a --ps option So what you want is: lilypond -dbackend=eps -daux-files=#f --ps file.ly Cheers, Reinhold Kainhofer -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypondfile
On 2012-08-28 02:12, pabuhr wrote: Is there a way to generate an eps file directly as for a ps file? I need the bounding box to include the exact output into latex (I'm not using pdflatex). I tried manually converting the ps to eps: ps2pdf generates a file that is unusable (go figure), and convert generates a low quality image (maybe one of the many parameters can fix this). Using command-line option backend=eps does generate a eps file but it's not the same as the original because it is for lilypond-book I see no reason why there should be a difference. the eps backend is used by lilypond-book, but it should be usable on its own, too. lilypond -dbackend=eps file.ly should generate the exact same layout as the pdf file (except that the output is cropped). In fact, lilypond first does the whole layout and only then generates the output file (ps/pdf, eps, png, svg, ...) from the final layout. (and it generates a lot of extra files). lilypond -dhelp shows that there is an aux-files=#f option to lilypond: lilypond -dbackend=eps -daux-files=#f file.ly should be what you are after... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilyglyphs LaTeX package
On 15/08/2012 17:34, Urs Liska wrote:
As this may well be useful for anybody writing about music with LaTeX,
I decided to make a package out of it. The project is hosted at
https://github.com/uliska/lilyglyphs.
The package is already useable, but there will be some syntax changes
in the near future, so I'd rather not use it extensively (you can see
the issues in the tracker to get an impression).
For now there are a few predefined commands for glyphs, and a generic
command to access glyphs by their name, so anything should already be
possible.
Since I need those glyphs (mainly the dynamics, but also accent etc.) in
a critical report myself, I took a look at the package.
One thing I noticed is that to print dynamics and numbers, there is no
need to resolve to their unicode number. One can simply change the font
to emmentaler and then print the normal letters/digits. In particular, I
would suggest:
~~~
% Print some text in the emmentaler font. Works for the dynamic letters
and the digits:
\newcommand{\lilyText}[2][1.4]{{\fontspec[Scale=#1]{Emmentaler-11}{#2}}}
% Numbers and Dynamics %
\newcommand{\lilyNumber}[2][1.35]{\lilyText[#1]{#2}}
~~~
You can then print any dynamics as e.g. \lilyText{sffpzm}. And the
definition of the dynamics can also be changed to use \lilyText instead
of printing each letter separately.
And, I'm missing a \lilyFP command for forte-piano (i.e. start the note
in forte, and then quickly go to piano, kind of like an accent, but not
as sharp), \lilyFZ, \lilyFFZ and \lilyPF (all of which are used in the
Schubert piece I'm currently editing).
Time signatures (fractions) can be easily produced by
\lilyTimeSignature{3}{4} using the following definition:
% general \time n/m command (prints time signature as a fraction in
emmentaler font)
\newcommand*{\lilyTimeSignature}[3][0.9]{$\frac{\mbox{\lilyText[#1]{#2}}}{\mbox{\lilyText[#1]{#3}}}$}
BTW, the installation of the font was really as simple as you describe:
1) Copy the emmentaler-*.otf files to ~/.fonts
2) run fc-cache
Cheers,
Reinhold
--
--
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Re: clef change confuses manual key signature
On 2012-08-14 23:24, David Rogers wrote: On Tue, 14 Aug 2012 22:58:57 +0200 james james.lilyp...@googlemail.com wrote: Honestly, what's most important to me is where the sharps/flats in the key signature are placed. Looking at the PDF example, I can't understand which line is supposed to be the good one. They both look wrong to me. When I read music, I want the key signature to be always in the stereotypical (correct) place, and I don't see a reason (in this particular music) for wanting to have it like either of those example lines. I could understand (though not agree with) wanting to have the key signature always in the same range as the notes that are going to be printed in that line, but both examples go against that. Therefore, my question... What is the intention behind wanting to put the key signatures in a different place? How is it supposed to help the person reading it? Some old handwritings have e.g. the f sharp in the keysignature not at the top line, but between the lowest and second-lowest line. If you want to create an authentic reprint of the autograph, you might also want to preserve the way the keysignature was printed... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilyglyphs LaTeX package
On 2012-08-15 17:34, Urs Liska wrote: this is somewhat OT, but only slightly, I think. No, it's not at all OT! It's actually very on-topic for all lilypond-users (in particular also for those who use lilypond-book). In need to insert music glyphs in continuous text (for writing a revision report) I successfully found out how to insert glyphs from LilyPond's Emmentaler font in (Xe)LaTeX documents and wrote a few first commands (thanks to Google and Werner Lemberg). As this may well be useful for anybody writing about music with LaTeX, I decided to make a package out of it. The project is hosted at https://github.com/uliska/lilyglyphs. That's really great! I have in the past tried unsuccessfully to create such a package for latex, because I also needed the emmentaler glyphs in the critical reports of my editions. Apparently, your package only works with xelatex, not with normal latex. Any idea how to make the glyphs available without using xelatex? Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: turning off partcombine
On 2012-06-19 11:15, m...@mikesolomon.org wrote: Is there a way to turn off partcombine so that I can change staves and then turn it back on when the voice comes back to its original staff? No, but you can call part-combine only on those sections where you want the two voices combined on the same staff. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: part combine double whammy
On 2012-06-19 11:32, m...@apollinemike.com wrote: I want foo and bar to be partcombined when bar is on staff A and qux and bar to be partcombined when bar is on staff B. bar spends its time hopping between the two staves. Is there a way to do this? No, Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: suppress warnings
On 20/05/2012 21:19, David Kastrup wrote: Graham Percival gra...@percival-music.ca writes: On Sun, May 20, 2012 at 05:01:40PM +0200, Peter O'Doherty wrote: Is it possible to suppress specific (expected) warnings? No, unfortunately. -- Function: ly:expect-warning str rest A Scheme callable function to register a warning to be expected and subsequently suppressed. If the warning is not encountered, a warning about the missing warning will be shown. The message should be translated with `(_ ...)' and changing parameters given after the format string. Exactly, this function can be used to suppress one warning from being printed (for usage examples, see some of our regtest files in input/regression/ in the lilypond source). Note, however, that this function does not turn off the given warning in general, so if you get 15 warnings in your score, you'll have to call this function 15 times. The reason for this is that this function is meant for our regtest to check whether an expected warning is really printed. It was never meant to suppress one particular type of warnings altogether... The real issue is: Why is that warning supposed to be there in the first place? Shouldn't you be looking for a way to fix the underlying problem instead? Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie to note inside double backslashing voicing
On 2012-04-06 18:00, trandrusiii wrote:
The only way I've found to create dynamics for a single note is to use
voicing with spacers. This worked ok for a while but now I have a note that
is tied to the upper voice and I get an error message saying that the tie is
not terminated and nothing shows up on the score. Has anyone experienced
this before? or know a better way to do single note dynamics?
Don't use \\ (i.e. simply leave the double backslash out, which creates
two separate voices):
{ g2. } { s4\ s4 s4\! } %no tie
This does not create new voices, but simply placed the g2. in parallel
with the spacers in the same voice (i.e. if you would use notes instead
of the spacers, you would get collisions etc.)
Cheers,
Reinhold
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Re: Bug: lyrics vertical spacing and dynamics with extra-offset
On 2012-04-07 20:33, Frank Steinmetzger wrote: In the first score, the lyrics are put nicely close to the staff. But as soon as the lower lyrics span across the space where the dynamic mark would be without the offset, both lyrics seem to ignore the space that became available by using the extra-offset. Thus, the distance to the staff increases again. Is that a bug? Or am I making a mistake here? As the internals documentation says, extra-offset is only applied AFTER all layouting has been done. The vertical spacing is still done with the original position. You can, however, override the *-position. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: My own Figured Bass number set, where do I start?
On 20/02/2012 14:18, Nils wrote: my pusblisher wants baroque figured bass gylphs. They have the strokes in different places than the Lilypond versions. I guess nobobdy did this so far, so I have to do it myself. Yes, we have a feature request (http://code.google.com/p/lilypond/issues/detail?id=2042 ), but no one has done any work on it. Where is the point in the code where I have to start? I want to do it right and use the same lilypond syntax like 4\+ or 6\\. I suppose that the proper way would be to create new glyphs in our fonts (using metafont, source file mf/feta-numbers.mf) and then adjust the format-bass-figure function (in scm/translation-functions.scm) to use those glyphs for the slashed figures. You could of course try to modify format-bass-figure without touching the fonts, but then it will always look like the figures in Robert Kelly's table, where a + or a ` is stacked onto a normal digit, clearly showing they are two different glyphs. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Thinking about putting together a grant to support development on LilyPond
On 09/02/2012 12:08, Han-Wen Nienhuys wrote: I have tried getting grants from different EU and national bodies with various partner institutions (including the one where Graham now works, IIRC). My impression is that you need people (preferably many) with lots of academic clout that can sign off on the proposal, since LilyPond itself has little formal recognition. Also, for EU research grants specifically, they were focused a lot on partnerships with and things that helped small and medium enterprises, and we couldn't invent a story around that. Just in case it helps proposals: I have a small music publishing company (http://www.edition-kainhofer.com/ ), and I exclusively use LilyPond, so you don't have to invent a story about that. A) Development of ly2xml Reviewers would probably argue that this is not really scientific research and should be funded by an industry partner instead. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to place figures (from figured bass) in the second row without a first one?
On 2012-01-23 01:56, Nils wrote:
Is there no way to make a bass-figure transparent oder set the color to white for one
figure in a chord only?
I always use \markup{ } (notice the space!), e.g.
\markup { } \markup { } _+ 9 7 _+
Cheers,
Reinhold
On Sat, 21 Jan 2012 21:00:00 +0100 Nilsl...@nilsgey.de wrote:
How do I place figures (from figured bass) in the second row without a first
one?
instead of
# # (Third is in the soprano voice)
8 7
I want:
#
8 7
notice the blank spot above the 7.
Can I somehow insert an invisible figure? In this case the second # ?
Or is there another way?
Nils
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Re: extenders in figured bass without a figure in front
On 2011-12-25 17:43, C.Flothow wrote: Hej! in a piece which I've been transscribing there is repeatedly an extender line in the figured bass without a number in front. This means of course: hold the accord. I've tried to indicate this with a markup, but that's of course not the same. [...] Is there a way for producing a real extender line here? Use an implicit figure: http://lsr.dsi.unimi.it/LSR/Item?id=607 Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Seasonal carols page
On 23/12/2011 21:47, dadadharma @dslextreme.com wrote: Am 2011-12-17 um 19:59 schrieb Father Gordon Gilbert: I don't know if it's useful to anyone, but a collection of the most common Public Domain Christmas carols in a booklet form is at this turned out to be so useful that several wanted the Lilypond files directly. So, I've started a page a project. http://www.hosorembo.com/Lily/carols.html (At the moment, one Hannukah song, one Advent hymn, and one Yuletide carol.) (But I'll be adding to this during the day.) A while ago, I typeset some Christmas songs for the choir where I was singing at that time. You can find the pdfs and the corresponding lilypond files for five popular Christmas songs on my (German) webpage: http://wiki.kainhofer.com/chor/noten Those five songs are: -) Es ist ein Ros entsprungen (Michael Praetorius) -) Hark! the herald angels sing (Felix Mendelssohn) -) In dulci jubilo (Michael Praetorius) -) O sanctissima! (Oh du fröhliche!) (Ludwig van Beethoven) -) Tochter Zion (Georg Friedrich Händel) Note that the webpage is some mixture between German and English. Weihnachtslieder means Christmas carols in English... Also note that all those songs are in the public domain, and I merely typeset them in LilyPond, so there is absolutely no protection by copyright law (and just in case there would be some protection: Hereby I waive all rights in those typsets that I am legally allowed to waive. In particular, in coutries with public domain, these typesets are in the public domain, in all others, I grant a perpetual, irrevocable license to anyone to modify, copy, perform or in any other way use those files without any conditions.). Feel free to use those lilypond sources for whatever project you like. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ERROR: Wrong type (expecting pair): ()
- Ursprüngliche Mitteilung - I've recently started getting ERROR: Wrong type (expecting pair): () when I compile the code for a rather large (5000+ lines) project, and I have no idea how to fix it. There is no line reference, and no indication what causes this problem Try enabling guile's debug mode. A while ago, the debug mode was turned off in lilypond, because it adds some performance penalty. But without debug mode, guile does not print out line numbers for scheme errors. We have recently enabled debug miode again. For your score, you can try adding #(debug-enable 'debug) to the top of your score. If that does not help, add (debug-enable 'debug) in scm/lily.scm of your lilypond installation. That should get you line numbers for the error to track down the area of the problem Cheers, Reinhold ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: (De)Crescendo hairpin touching vertical bar of the last measure in the line
On 2011-11-26 00:01, Xavier Scheuer wrote:
On 25 November 2011 17:50, PrzemysławPawełczykprze...@gmail.com wrote:
I'm lilypond newbie (it's my first mail to ML) and looking for a
solution to a bad looking (de)crescendo hairpin ending at the end of
the last measure, i.e. grossly touching vertical bar (in case of many
staves per system). It doesn't happen for non-last-in-line measures.
Looks like a bug to me (hence the Cc to bug-lilypond, so it will be
added to the issue tracker).
Reinhold fixed issue #1433 but AFAICS the related reg test only shows
the effect of a _textual_ *broken* DynamicTextSpanner, not a _Hairpin_
*to-barline* at a line break.
Actually, my fix has nothing to do with the padding between the hairpin
and the barline. Bug 1433 was about being able to break text crescendi
at all.
This bug report is about missing padding between a broken hairpin and
the succeeding barline. This only affects the broken hairpin, while the
padding at the real end of the hairpin is correct. \score { \new
StaffGroup \new Staff { \music } \new Staff { \music } }
Cheers, Xavier
Cheers,
Reinhold
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Re: Anomalous, or Non-standard, Clefs
Am Saturday, 22. October 2011, 17:29:22 schrieb Alan McConnell: On Sat, Oct 22, 2011 at 02:39:05PM +0100, Neil Puttock wrote: http://lilypond.org/doc/v2.15/Documentation/snippets/pitches#non_002dtrad itional-key-signatures Yes! Many thanks! I can see that I'm going to have to get familiar with the snippets file. I've ignored it up to now, since I'm working with v 2.14.2. But the code you've suggested works with 2.14.2. You might prefer the LSR: http://lsr.dsi.unimi.it/ If you search for non-traditional, you'll get that very snippet: http://lsr.dsi.unimi.it/LSR/Item?id=248 Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cuenotes are not displayed (Ian Hulin)
Am Sonntag, 16. Oktober 2011, 10:01:46 schrieb Stefan Thomas:
Dear community,
because of the wrong code, I post You my snippet again.
The Problem is: the quoted voice doesn't appear in the staff
anotherinstrument and it has definetily to do with the command
\set PianoStaff.instrumentName= Piano
Is there possibilitie to get the quodation without quitting the command
that sets the instrumentName for the PianoStaff?
I have the problem, in a larger score, hat some cuenotes are not displayed.
I assume it has to do with some commands that are related to another
context than Voice.
Yes, that was one case of bug 1214
(http://code.google.com/p/lilypond/issues/detail?id=1214 ). It was fixed in
LilyPond 2.15.9, so as soon as 2.16 is released, you'll have a fix.
I don't know any easy workaround in earlier lilypond versions (except removing
the offending commands from the music, e.g. by creating a second copy
\rightII, which is only used in \addQuote and which does not have the \set
command).
That's what I had used before I finally fixed bug 1214.
Cheers,
Reiknhold
Here my new snippet:
\version 2.14.2
right = {
\set PianoStaff.instrumentName = Piano
c'' 4 g' a' b' c'' 4 d'' e'' f'' g'' 1 }
\addQuote right { \right }
anotherinstrument = { c' 1 \quoteDuring #right s1 c'1 }
\score { \new Staff \anotherinstrument }
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Re: cuenotes are not displayed (Ian Hulin)
Am Sonntag, 16. Oktober 2011, 13:35:42 schrieb Stefan Thomas:
Dear Reinhold,
thanks for Your fast reply.
The problem is: I don't exactly know, which other commands could cause
hiding the quoted voice than \set PianoStaff.instrumentName= ?
All things that create a different context. Examples are:
\new Voice { ... }
{ ... } \\ { ... }
\partcombine {...} {...}
Cheers,
Reinhold
I have the problem, that the music of the cellopart is not quoted, although
it isn't a Pianostaff.
2011/10/16 Reinhold Kainhofer reinh...@kainhofer.com
Am Sonntag, 16. Oktober 2011, 10:01:46 schrieb Stefan Thomas:
Dear community,
because of the wrong code, I post You my snippet again.
The Problem is: the quoted voice doesn't appear in the staff
anotherinstrument and it has definetily to do with the command
\set PianoStaff.instrumentName= Piano
Is there possibilitie to get the quodation without quitting the
command that sets the instrumentName for the PianoStaff?
I have the problem, in a larger score, hat some cuenotes are not
displayed.
I assume it has to do with some commands that are related to
another
context than Voice.
Yes, that was one case of bug 1214
(http://code.google.com/p/lilypond/issues/detail?id=1214 ). It was fixed
in
LilyPond 2.15.9, so as soon as 2.16 is released, you'll have a fix.
I don't know any easy workaround in earlier lilypond versions (except
removing
the offending commands from the music, e.g. by creating a second copy
\rightII, which is only used in \addQuote and which does not have the
\set command).
That's what I had used before I finally fixed bug 1214.
Cheers,
Reiknhold
Here my new snippet:
\version 2.14.2
right = {
\set PianoStaff.instrumentName = Piano
c'' 4 g' a' b' c'' 4 d'' e'' f'' g'' 1 }
\addQuote right { \right }
anotherinstrument = { c' 1 \quoteDuring #right s1 c'1 }
\score { \new Staff \anotherinstrument }
--
--
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http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Re: Request for Engraving Suggestions
Am Montag, 26. September 2011, 23:05:02 schrieben Sie: 2011/9/26 Reinhold Kainhofer reinh...@kainhofer.com: For my empty score sheet generator, I had to adjust the vertical spacing quite a bit, too. The default settings of lilypond simply look ugly. Yes they do. Well, fixing this is on my to-do list. However, fixing it properly will not be easy, because it probably requires rewriting current spacing engine (i know that it sounds ugh). I remember that i've found an example score layout which was impossible to achieve with current system. What I don't like about the current system is that you cannot produce a nice titlepage with text markups that stretch properly (some markups seem to be spaced more while others are spaced less). See: http://www.mail-archive.com/lilypond-devel@gnu.org/msg33353.html And the interface is really complex, so a normal user will probably not easily see how to achieve the desired output (even I usually arrive at the result only through trial and error and not through knowing what I'm doing). Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Paper Size Default
Am Tuesday, 11. October 2011, 09:36:45 schrieb Urs Liska: I think he wants to change the paper size that LilyPond uses by default if nothing is specified in the actual file. The default is specified as a scheme option. In particular in scm/lily.scm the paper-size option is defined to a4 and then later on (in ly/declarations- init.ly) this option value is used to call set-default-paper-size. So, you can change the default paper size by either -) including set-default-paper-size in one of your include packages, -) including it in the score, -) including #(ly:set-option 'paper-size letter) in your score -) using -dpaper-size=letter on the command line -) etc. Of course, you could also modify scm/lily.scm directly, but that will be lost on a lilypond upgrade... Cheers, Reinhold You can change this Am 11.10.2011 08:25, schrieb Pato Press: Perhaps taking a look at the 4th section of the notation reference manual: http://lilypond.org/doc/v2.14/Documentation/notation/paper-size-and-autom atic-scaling Luck! tdy. 2011/10/11 Thomas Wilmot thomas-wil...@hotmail.com mailto:thomas-wil...@hotmail.com Hello, I have been trying to change my paper size default from A4 to Letter. I've looked around in paper.scm and can't find a thing. Is this doable? Thanks, Thomas ___ lilypond-user mailing list lilypond-user@gnu.org mailto: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 -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Apparently bogus warning with 2.15.12
Hi Nick, Am Monday, 26. September 2011, 11:27:01 schrieb Nick Payne: I'm setting Bach's BWV853 (Prelude from WTC 1), using showLastLength to just engrave the last six bars added, and as I add bars I'm getting warnings about unterminated ties that come and go as the bars are added. The reason I say the warning is bogus is because there are no ties across barlines anywhere in the piece, and when I have a look at the bar(s) being complained of, there are no ties anywhere near. Can you try to create a minimal example that shows the problem. Your error messages simply don't give us any code to try to reproduce (and then track down) the problem. Thanks, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Request for Engraving Suggestions
Am Montag, 26. September 2011, 18:11:50 schrieb Alberto Simões:
Hello
At [1] you can find the images of the engraving process of one
transcription I did. The Lilypond source file is available at [2] and if
you prefer the PDF version, it is available at [3].
In this engraving I do not like the amount of space between the two
systems. I understand that there is not much that Lilypond can do, but
the overall aspect is kind of... strange.
I am writing to ask for any suggestion to make this output better.
For my empty score sheet generator, I had to adjust the vertical spacing quite
a bit, too. The default settings of lilypond simply look ugly.
To see my values, go to
http://www.edition-kainhofer.com/de/empty-scoresheets.html
and choose e.g. Choir, 4 staves (SATB), with 2 systems/page and no space for
the header reserved.
You can then download the lilypond file, which contains the vertical spacing
variables that I'm using with lilypond 2.14.
Cheers,
Reinhold
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Spacing_stretch_2choirstaves.png\version 2.14.2
#(set-global-staff-size 20)
#(set-default-paper-size a4)
#(ly:set-option 'point-and-click #f)
\header {
title=
subtitle=
composer=
instrument=
arranger=
tagline = ##f
}
\paper {
oddHeaderMarkup = ##f
evenHeaderMarkup = ##f
oddFooterMarkup = \markup \abs-fontsize #8 \with-color #(x11-color 'gray65) \fill-line {
\with-url #http://www.edition-kainhofer.com/; {Edition Kainhofer}
\with-url #http://www.lilypond.org/; {LilyPond - Music notation for everyone}
}
pages=3
systems-per-page=2
ragged-bottom=##f
ragged-last-bottom=##f
ragged-last=##f
ragged-right=##f
#(set-paper-size a4)
top-system-spacing #'basic-distance = #7
top-markup-spacing #'basic-distance = #5
last-bottom-spacing #'basic-distance = #10
markup-system-spacing #'basic-distance = #15
top-system-spacing #'stretchability = #60
top-markup-spacing #'stretchability = #40
last-bottom-spacing #'stretchability = #60
markup-system-spacing #'stretchability = #60
system-system-spacing #'stretchability = #40
}
\layout {
\context { \StaffGroup
\override SystemStartBracket #'collapse-height = #1
}
\context { \PianoStaff
\override SystemStartBrace #'collapse-height = #1
}
}
emptymusic = {
\repeat unfold 6 { s1\break }
}
\new Score \with {
\override TimeSignature #'transparent = ##t
defaultBarType = #
\remove Bar_number_engraver
}
\new ChoirStaff
\new Staff \new Voice { \clef treble \emptymusic }
\new Staff \new Voice { \clef treble \emptymusic }
\new Staff \new Voice { \clef treble_8 \emptymusic }
\new Staff \new Voice { \clef bass \emptymusic }
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Re: Request for Engraving Suggestions
Am Montag, 26. September 2011, 18:25:29 schrieb Janek Warchoł: I'd put it differently: there's not much LilyPond *cannot* do. For starters, add ragged-bottom = ##t to your paper block. Then, read http://www.lilypond.org/doc/v2.14/Documentation/notation/flexible-vertical -spacing-_005cpaper-variables (notice that the documentation is about current stable version - 2.14.2. Notice, however, that once you set ragged-bottom=##t, then those vertical spacing settings won't have any effect any more! Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org signature.asc Description: This is a digitally signed message part. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: automatic indentation of long instrument names?
Am Thursday, 15. September 2011, 22:08:04 schrieb Patrick Schmidt: in previews long instrument names seem to be indented automatically (see preview.png) Actually, preview simply crops the image where the instrument name starts, which in this case is more to the left than the page start. So you get a preview image that is actually larger than the page! whereas on the first full page of the same score they get lost in the left margin (see page1.png). Is there an option for the automatic calculation of the level of indentation in relation to the length of instrument names? No, unfortunately, not. It would be great to have it, though. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: programming error: no solution found for Bezier intersection
Am Wednesday, 14. September 2011, 06:47:50 schrieb Colin Campbell:
On 11-09-13 09:29 PM, Nick Payne wrote:
Ok, the following small example reproduces the error on my system with
2.15.11:
The minimal example is (the normal fingering -1 does not have any influence,
so it should be removed, too, and the language is also not relevant):
%==
\version 2.15.11
\relative c'' {
\set strokeFingerOrientations = #'(up)
\override StrokeFinger #'avoid-slur = #'outside
a-\rightHandFinger #2 16( b)
}
%==
This example shows clearly that StrokeFinger is to blame here.
The warning appears only with #'avoid-slur=#'outside, not with 'inside.
However, the actual value of strokeFingerOrientations is not relevant (as long
as you set it to some value), the warning appears both with #'(up) and with
#'(down).
If I get rid of the right hand fingering then the error goes away, and
if I comment out the override for StrokeFinger #'avoid-slur then the
error also goes away but the log contains the warning:
/home/nick/lilypond/examples/test.ly:14:13: warning: Ignoring grob for
slur: StrokeFinger. avoid-slur not set?
as-1
-\rightHandFinger #2 16( b)
That's definitely a bug. The StrokeFinger seems to be missing the avoid-slur
property (and there seems to be a regtest missing for StrokeFinger).
Nick, one of our developers is working on Bezier range calculations:
there is an open tracker item
(http://code.google.com/p/lilypond/issues/detail?id=1784
http://code.google.com/p/lilypond/issues/detail?id=1784) which sounds
like your problem.
I guess only Mike Solomon can answer that question, since he didn't describe
which problem he tries to solve with the patch...
Cheers,
Reinhold
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
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Basic LilyPond Cheat Sheet
Dear all, Sometimes it can be very useful -- in particular for new and not so experienced users -- to have the basic LilyPond syntax available compressed on one single sheet. I have created such a cheat sheet that displays the basic lilypond syntax and usage (without any tweaks and overrides) on one single page, while also being visually appealing. The cheat sheet is meant to be a quick summary of the things explained in the learning manual, but does not replace the learning manual. It simply is a quick reminder of all the stuff, once you have read the learning manual. Attached you can find the PDF version of this cheat sheet: http://www.fam.tuwien.ac.at/~reinhold/temp/2011-08-24_LilyPond_CheatSheet_Basic.pdf I also provide nicely printed copies of the cheat sheet for basically my own costs (3€ per sheet + shipping): http://www.edition-kainhofer.com/en/lilypond/details/2111/ These copies are printed borderless on heavier paper and are laminated, so they are waterproof and should hold for years. Chers, Reinhold PS: I'm also planning to write a cheat sheet with basic tweaks/overrides and the various paper/header fields. But that might take a while. -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Basic LilyPond Cheat Sheet
Am Montag, 12. September 2011, 14:48:51 schrieb David Kastrup: Reinhold Kainhofer reinh...@kainhofer.com writes: Dear all, Sometimes it can be very useful -- in particular for new and not so experienced users -- to have the basic LilyPond syntax available compressed on one single sheet. I have created such a cheat sheet that displays the basic lilypond syntax and usage (without any tweaks and overrides) on one single page, while also being visually appealing. How does it relate/compare to appendix B in the notation manual? Anything you might consider worth adding there? The appendix B contains mostly similar snippets, but 1) my cheatsheet has more than those snippets (i.e. Appendix B corresponds more or less to my Basic Notation box; But my cheat sheet also shows command line usage, some contexts, examples for lyrics, hierarchies, markup), 2) takes way more than one sheet when printed, and 3) is not nearly as good-looking as my cheat sheet ;-) Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Basic LilyPond Cheat Sheet
Am Montag, 12. September 2011, 19:21:02 schrieb Helge Kruse: But when I try to send the PDF to my printer I get the messages Das Dokument konnte nicht gedruckt werden. (The document could be printed.) Keine zum Drucken ausgewählte Seiten vorhanden. (There are no pages selected to print.) When I look at the PDF document properties I can read Drucken: Zuläsig (Print: allowed). Is this intentionally inhibited with some scripts in the document or is there something incompatible with Acrobat Reader 9.4.2.220? No, printing is not disallowed. It is probably some incompatibility with Acrobat Reader. I can print it just fine from okular. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Empty music sheet generator in LilyPond
Dear LilyPond users, Every now and then you need empty music sheets to write a score or arrangement manually on paper, prepare some exercises for you instrumental students or simply do some homework for college. Wouldn't it be great if you could create empty score sheets for the exact instrumentation that intend, rather than drawing all brackets manually on stock music paper that you can buy? To automate this, I have created a small online creator for empty music sheets, which uses lilypond as the backend to produce the nice sheets: http://www.edition-kainhofer.com/en/empty-scoresheets.html Please let me know what you think about it. For example, if you feel that some score type is missing, it's really easy to add more than the currently available. If you select a combination of settings that no-one else has yet selected, Lilypond takes a few seconds to create the score (and also the preview), but the second time you choose that configuration there is no delay, because all already-created scores are cached and re-used on the server. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com/ * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Empty music sheet generator in LilyPond
Am Donnerstag, 8. September 2011, 17:51:25 schrieb Gilles Sadowski: It looks promising. But it would be better if it were nice to the forests: Sheets should probably contain more than one staff/system if space allows. ;-) That's why you can select Systems/page... Notice, however, that if you have e.g. a full orchestral score selected, in most cases only 1 system fits onto a page, so Systems/page is set to 1. If you then select another type, where more than one system fits on a page, the Systems/page does NOT change. You'll have to change it manually. I didn't want to change automatically change the Systems/page to an optimal value when you select a different score-type, because that would be too annoying... Imagine, for example, that you choose a Single staff, treble clef and select 14 systems (staves) per page. If you then select Single staff, bass clef, you probably still want 14 systems/page. I don't want to reset the Systems/page setting in this case... However, it might make sense to find some heuristics when it makes sense to reset (e.g. if you switch from full orchestral score to single-staff systems). Maybe the A3 format would also be useful (e.g. for orchestral scores). Yeah, I'll think about it. However, then I'll also have to allow more than 15 systems on a single page... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Positioning fingering under 1st voice slur
Am Saturday, 3. September 2011, 23:34:11 schrieb Javier Ruiz-Alma:
\version 2.14.2
%looking for a way to place fingering at top but under the slur
\score{
\new Staff
{a''2.^( b''4^)}
\\ {s2 b'8^\markup{\finger 3}( g') s4}
\layout {}
}
If you use a real fingering, you can override it's direction to UP. By default
fingerings are put under slurs, while markups are printed above slurs:
\version 2.14.2
%looking for a way to place fingering at top but under the slur
\score{
\new Staff
{a''2.^( b''4^)}
\\ {s2 \once\override Fingering #'direction = #UP b'8-3( g') s4}
\layout {}
}
Cheers,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Re: lilypond-book download
Am Dienstag, 30. August 2011, 16:01:01 schrieb Dmytro O. Redchuk: On Mon 29 Aug 2011, 11:43 Pablo Zumarán wrote: I already have lilypond in my Ubuntu. What must I download so that I can use lilypond-book? You need to have latex (texlive-latex-base at least) installed. Only if you want to process latex files with lilypond-book. If you want to process html files, you don't need anything else. If you want to process texinfo files, apparently you need texinfo (which in turn depends on latex). Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org signature.asc Description: This is a digitally signed message part. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to evaluate 'articulations entries?
Am Montag, 29. August 2011, 18:07:17 schrieb Marc Hohl:
Hello list,
I think I have asked a similar question long time ago, but I didn't
find the answer.
Currently, I am working on a little scheme engraver which should read the
'string-number, if given, and should do some calculations, depending on
other articulations, like 'HarmonicEvent.
The articulations are a list, so you have to filter them to get the actual
string numbers.
Example attached,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
\version 2.15.9
#(define-public (test_engraver context)
(let ((string-pitch-list '()) ;; actually not used
(notes '()))
`((acknowledgers
(note-head-interface .
,(lambda (trans grob source)
(set! notes (cons grob notes)
(process-acknowledged
. ,(lambda (trans)
(for-each (lambda (note)
(let* ((event (event-cause note))
(pitch (ly:event-property event 'pitch))
(art (ly:event-property event 'articulations))
;; art is a LIST of events, so you have to filter out
;; all string-number events
(nrs (filter (lambda (s) (not (null? s)))
(map (lambda (a) (ly:event-property a 'string-number))
art)))
;;(type (ly:music-property art 'string-number)) - this does not work
)
(display (extract-named-music art ArticulationEvent))
(display The event: )
;;(display event)
(display has pitch: )
;;(display pitch)
(display and articulation: )
(display art)
(display and string numbers: )
(display nrs)
(display \n)
)
) ;; end lambda (note)
notes)))
(stop-translation-timestep
. ,(lambda (trans) (set! notes '()))
\layout {
\context {
\Voice
\consists \test_engraver
}
}
test = \relative c' {
% c4
d\2-. %e\2
% f g\4 a\4 b\4 g\4\harmonic
% c4\3 d\3 g\2 c\3 r
}
%\displayMusic { \test }
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Re: Lilypond lobbying?
Am Freitag, 26. August 2011, 14:22:27 schrieb David Kastrup:
I think if
a note or spacer rest creates an implicit Voice context for the rest
of sequential music in { c ... } then it should do the same for c
... . Can anybody think of music where this would be a bad idea? I
am not even convinced that
{ c d e f } { g h a b }
warrants two different contexts and consequently systems. How do you
explain the output of
{ \transpose c g { c d e f } g a b c' }
convincingly to anybody?
These all highlight shortcomings of the implicit staff/voice creation of
LilyPond. Nobody says that it is perfect, to the contrary, it has several
known problems. They are just easy to overcome (in any larger score you would
manually create the voice or staff anyway, so the problem only appears in very
simple snippets). The workaround is always to manually create the staff/voice.
That's also what we advise all over the docs.
The worst example is if some music starts with cue notes: Everything will be
printed as cue notes, unless you manually create the Voice context yourself.
Of course, nobody would object to fixes of the implicit context creation in
LilyPond ;-)
Cheers,
Reinhold
--
--
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
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Re: Default beaming for 3/4
Am Freitag, 26. August 2011, 15:12:16 schrieb David Kastrup: Note that this would not agree with Gould. Paraphrasing the gut rule I apply here, this would likely be something like An off-beat can be beamed to the next group if its on-beat is not explicitly present. The problem is that the start of a beam somehow indicates a slight accent (not strictly), like the third quarter in a 4/4 measure. If you beam c4. c8[ c c] the actually accented note (the middle c8) is in the middle of the beam, and the first c8 would be played slightly accented. However, Gould says that in many classical pieces it is okay to use c4. c8[ c c] in 3/4, because the beats are very clear. That's an exception to the rule, though, rather than the rule. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org signature.asc Description: This is a digitally signed message part. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: grace synchronization
On Fr., 26. Aug. 2011 23:32:39 CEST, David Kastrup d...@gnu.org wrote: I checked around, and Rationals (which are used for time) have a representation of -inf. I think it would be a good start if the default grace time component (namely when no grace is present) was not set to 0, but to -inf, meaning everything comes before graces. Except those things that are actually preceded by graces. Sounds reasonable. But of course, then we run into the opposite problem: What if one voice has a time sig between the grace and the note (grace moment 0), while another voice has the corresponding time sig before the note without any grace (i.e.-inf)... The problem is that -inf will get a lot more visibility, likely also in user code. I don't think this is an issue at all. I mean, not too long ago (before I started looking at what caused that bug) I wasn't even aware that the grace time was stored together with the real moment. The only thing I would change is that in the output of a moment the grace component would only be available if -inf. But then, that's also how 0 is currently handled, so this would clearly be changed, anyway. Cheers, Reinhold ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: grace synchronization
Am Friday, 26. August 2011, 22:59:47 schrieb Hans Aberg: My impression is that there is a mixture of code, sometimes putting the grace-note before the bar, and sometimes after. A fix might allow one to fine-tune that. Actually, lilypond's handling is way more abstract. There are no checks for grace notes or whether something should come before or after a barline. Rather, lilypond simply sorts every music event (note, time sig, barline, etc.) according to when they appear (their moment). Events that are between notes (like a time signature change, a clef, a barline etc. are assigned to the begin of the moment of the next note. LilyPond then simply goes through all the events in time order. Now, the problem with grace notes is that they introduce a second counter (an 8th before the beat, a 16th before the beat etc.). LilyPond still goes through everything in the correct order, grace notes will simply be handled before the actual beat. However, things start going wrong if one voice has a grace note, while another one does not. Let us look at the following very simple example (remember, in lilypond the first beat is numbered 0, not 1!): -) Voice 1: c4 c4 In voice 1, the first c4 is at the moment 0/4, the second at 1/4. The grace moment of each is 0 (i.e. no grace, at the beat). -) Voice 2: c4 \grace e8 c4 In voice 2, the first c4 is again at moment 0/4, grace moment 0. The grace e8 belongs the second quarter, so it's moment is 1/4, but the grace moment is -1/8 (i.e. 1/8 grace before the second quarter). The c4 is again at 1/4. -) Voice 3: c4 \clef bass c4 c4 is at 0 (grace 0), the clef at 1/4 (grace 0) (same moment as the following c4), the c4 is at 1/4 (grace 0) -) Voice 4: c4 \clef bass \grace e8 c4 c4 is at 0 (grace 0). As I wrote above, all events between notes are assigned the time of the next note, which for the \clef is the grace. The grace has a moment of 1/4 (grace -1/8) like in voice 2. So the clef also has a moment of 1/4 (grace -1/8). Now, all four voices separately give correct results. However, if you combine them in one score, you see that in voice 3 you have a clef at moment 1/4 (grace 0), while in voice 4 you have a clef at moment 1/4 (grace -1/8). So, you have two clef changes at two different times! That's exactly what LilyPond observes, and in most cases it will really duplicate stuff, once before and once after the grace. Cheers, Reinhold PS: If you think the problem can easily be solved by simply handling all events between notes before the next following note rather than together with the next noted, please think though Voice 3 from above with -) Voice 5: c4 \grace e8 \clef bass c4 -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MusicXML exporter (was Re: Lilypond lobbying?)
On Do., 25. Aug. 2011 09:11:49 CEST, Mike Solomon mike...@ufl.edu wrote: The issue with Finale and Sibelius exporting is user overrides. I can drag a markup over the last note in my score to be in the position of the title and it'll look just fine in Finale, but LilyPond will have no clue what to do with it. Yes, that's exactly one of the problems I faced with musicxml2ly Cheers, Reinhold ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond lobbying?
Am Donnerstag, 25. August 2011, 13:41:45 schrieb Urs Liska: In the context of Joseph Wakelings thoughts I'd say: Any LilyPond source, good or bad will require at least on person on the publishers side that will deal with it. And with a little wider perspective: It will require that the publisher can rely on having such a person around also when they have to deal with the score again sometimes. Plus, they need need to be sure that when they try to edit that file in 3 years that lilypond will still process it without any work and it should look exactly like before. That's also one of the current problems iwth lilypond: The syntax changes regularly, and you need to update your scores every few months to be able to run them properly. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: New LilyPond tutorial
Am Wednesday, 24. August 2011, 02:00:16 schrieb Urs Liska:
Hello list,
I have just put a new tutorial online. You can read it at
http://www.ursliska.de/73.0.html
[..]
Really nice.
Comments that arent' interesting for the public (linguistic details for
example) please privately, LilyPond related comments on the list.
1) You know that you can give dynamics their own directions? So you can simply
write (in rightOne):
bes bes'4^\(
instead of
\dynamicUp
bes bes'4\( ...
\dynamicNeutral
2) Resetting the tie direction to the default in rightOne is much simpler than
you thought. In particular, \voiceOne simply sets (i.e. does the same as
\override) the 'direction property of several grobs, including Tie.
So, to get the oneVoice-behaviour, all you have to do is to revert the Tie's
'direction property to the default:
tweakSix = {
% Simulate \oneVoice style ties
\once \revert Tie #'direction
}
a a'4 b b' \tweakSix cis cis'~ q d d'
Note that now the \tweakSix has to be placed right before the tie's start,
which is what one would intuitively expect.
3) You manually use \oneVoice ... \voiceOne to get proper rest merging.
LilyPond can do that automatically:
http://lsr.dsi.unimi.it/LSR/Item?id=336
I thought that this function has been included into LilyPond, but I can't find
it anywhere...
Ah, it's been started, but never finished:
http://code.google.com/p/lilypond/issues/detail?id=1228
4) Thanks for tellung us about the tupletSpannerDuration... I wasn't aware of
that and always copied dozens of } \times 2/3 { strings when I wrote some
string ensemble works... This makes life way easier! Amazing, even after years
of using and developing LilyPond, you can learn something new anyday!
Cheers,
Reinhold
--
--
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Re: New LilyPond tutorial
Am Wednesday, 24. August 2011, 10:42:23 schrieb David Kastrup: I'd like to point to URL:http://www.gnu.org/prep/maintain/maintain.html#Ethical-and-Philosophic al-Consideration from the guidelines for maintainers of GNU projects. A GNU package should not refer the user to any non-free documentation for free software. I consider this tutorial additional material, not core documentation, so I don't see this as an issue... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MusicXML exporter (was Re: Lilypond lobbying?)
Am Wednesday, 24. August 2011, 23:33:02 schrieb Michael Ellis: On Wed, Aug 24, 2011 at 5:14 PM, Jan Nieuwenhuizen jann...@gnu.org wrote: It's only about an hour of work (see below) to convert a simple and prepared .ly score to musicxml, see below. That sounds encouraging. So how far away are we from being able to handle a more realistic score, say a string quartet or a 4-part choral score with with lyrics and piano reduction? I don't think it's that easy, in particular if you want to get output that you can send to a publisher without being thrown out of the office... Jan, you can take a look at the ~100 MusicXML files in input/regression/musicxml/ and at the corresponding output of musicxml2ly. The current approach is to modify the source file to add a \convertToMusicXML (or some similarly named function) to the music expression that you want to convert. However, I see several problems with this approach, which I might discuss separately. In short, the only way to make it extendable for the future (so that one day we can also export the layout) is to handle (MusicXML) export similar to MIDI generation, namely via translators that collect all events and all settings as they appear in the score. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond lobbying?
Am Monday, 22. August 2011, 12:13:55 schrieb David Kastrup: Joseph Wakeling joseph.wakel...@webdrake.net writes: On 08/19/2011 09:47 AM, Henning Hraban Ramm wrote: (Why does anyone care about a concerts for six organs at all? I'm just a humble folk musician, but I know there are great organs around where you don't need six organists playing at once. I can't imagine there's any musical advantage of six small organs over a good, big one...) There are things you can do with twelve hands, that you can't with two ... There are diminishing returns. There are rather few concerts for several pianos, and those are easier to come by than several organs. In this case, there are 6 organs, spaced about 30 meters apart throughout the whole church. This adds the whole space dimension to the experience. This allows you to create something like Dolby-surround and 3D audio effects on 18th century instruments! Haydn did something similar with his Echo double-string quartet, although that uses just two string quartets in two different rooms. Six organs can do a lot more. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unslurred acciaccatura?
Am Sunday, 21. August 2011, 22:03:27 schrieb Patrick Karl:
Is it possible in LilyPond to generate an unslurred acciaccatura? Or,
possibly equivalently, is it possible to generate a grace note with a
slashed stem?
In the latest developer release 2.15.x you can (using the \slashedGrace
function):
http://kainhofer.com/~lilypond/Documentation/changes/index.html
In 2.14 you can copy the new definition into your own file (example attached).
Cheers,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
\version 2.14.0
startSlashedGraceMusic = {
\override Stem #'stroke-style = #grace
}
stopSlashedGraceMusic = {
\revert Stem #'stroke-style
}
slashedGrace =
#(def-grace-function startSlashedGraceMusic stopSlashedGraceMusic
(_i Create slashed graces (slashes through stems, but no slur) from
the following music expression))
\relative c'' {
c4 \slashedGrace e8 c4
}
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Re: non numbered footnotes?
Am Donnerstag, 18. August 2011, 22:52:39 schrieb padovani: Hello, I'm trying to change a footnote example (overrides and more overrides) to have both the link and the footnote without numbers, but with arbitrary markups... (I would like to use * or ** for example)... Is it possible? That's still code under development, so there are still some issues to iron out. But in principle, it should be ready in the next few developer releases (2.15.9, .10 or .11). Mike Solomon is implementing those, and there will be separate functions for automatically numbered footnotes and for footnotes with symbols. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org signature.asc Description: This is a digitally signed message part. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: creating images for web pages
Am Sonntag, 7. August 2011, 19:16:11 schrieb ed stuckems:
Hello:
I'm trying to create images of lilypond output to be included in web
pages. I've been able to do it but the process is extremely labour
intensive and I've got to believe there's a more efficient way. Can
someone please comment on ways to improve my process or suggest a
different strategy?
Whenever I needs images to include in a LaTeX document or on a webpage, I
simply use the following command call:
LILYPOND_LOGLEVEL=BASIC lilypond -drelative-includes -dbackend=eps \
-dpreview -dno-aux-files --pdf --png -dpixmap-format=pngalpha -o out/ \
FILENAME.ly
This creates FILENAME.{pdf,eps} and FILENAME.preview.{eps,pdf,png} in the out/
directory. -dpreview ensures that the *.preview.* images are cropped, and -
dpixmap-format=pngalpha makes the background of the png images transparent.
There's no need to specify a line width (i.e. paper size) for single-line
snippets, because one-line snippets are layed out with ragged-right.
Cheers,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Re: Why can't I \override TieColumn #'tie-configuration only \once?
On Di., 9. Aug. 2011 01:34:02 CEST, David Kastrup d...@gnu.org wrote:
harm6 thomasmorle...@googlemail.com writes:
Yes. But the Notation Reference demonstrates:
\relative c' {
c e g2~ c e g
\override TieColumn #'tie-configuration =
#'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
c e g2~ c e g
}
Where is your point? It would still work after the next chord.
The example gives the impression that it needs to be set before the tie. I
would also expect this, so I would intuitively also place the \once\override
before the tie and wonder why it doesn't work.
Cheers,
Reinhold
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Re: 2.15.8 change in \cueDuring behavior?
Am Sunday, 7. August 2011, 22:18:04 schrieb Paul Scott:
Hi,
This is the first time I have used \cueDuring in 2.15.x.
In the following example the note size doesn't return to normal after
the cue and the rests during the cue appear to be cue sized.
My example seems to match the documentation. Did I miss something?
if a voice starts with cue notes you have to create the voice explicitly;
\version 2.15.8
notesA = \relative c'' { a4 b c d e f g f e d c b }
\addQuote partA \notesA
notesB = \relative c'' { \cueDuring partA #UP { R1*2 } a4 b c d }
\score{
\new StaffGroup
\new Staff \notesA
\new Staff \notesB
should be:
\new Staff \new Voice \notesB
Cheers,
Reinhold
--
--
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Re: Multi-column text
Am Donnerstag, 4. August 2011, 00:49:11 schrieb Christopher R. Maden:
On 08/03/2011 06:07 PM, Reinhold Kainhofer wrote:
Nope, Lilypond doesn't try to be a full text layout application. You
cannot do multi-column text with automatic line- and
column-breaking.
I am using Latex for such things like preface, lyrics and
translations (Initially I tried to use lilypond, that's why I wrote
that other snippet that Harm suggested; But then decided that
lilypond simply isn't capable of what I need), critical report, etc.
Thanks to you and Harm. That was what I was afraid of... I don’t care
enough to make the quantum leap to using LaTeX or DocBook, but I was
hoping to save a bit of page space. Given some of the long titles, I
guess I’ll just go single-column for now, with \column-lines.
Actually, I probably gave the wrong impression that lilypond is not able at
all to use two-column layout. That's not true, you can format text in two
columns, even with automatic line breaking. What does NOT work, though is line
breaks, automatic column breaking and text flowing from one column to the
next.
Attached is a sample file showing how to display text in two long columns.
(notice that you can use either \justify (for each paragraph separately, plus
you need to add a \vspace #0 after each paragraph; advantage is that you can
use arbitrary markup in the paragraph) or \justify-string (which has no
problems with new paragraphs, but you can only pass it a string, no other
markup).
If you plan to use footnotes (available only in 2.14 and 2.15.x; I'm not sure
how well they work in 2.14, though, as they are still in development) in the
text, then you'll have to use \justify.
I have added such an example, too. If it doesn't work with your version,
simply comment out that line to see the rest of the example.
Cheers,
Reinhold
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--
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
\version 2.14.2
% Arrange the two columns horizontally in one line:
\markup\fill-line {
% First column:
\override #'(line-width . 50) \column {
\justify-string #
Lorem ipsum dolor sit amet, consectetur adipisici elit,
sed eiusmod tempor incidunt ut labore et dolore magna aliqua.
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
nisi ut aliquid ex ea commodi consequat. Quis aute iure reprehenderit
in voluptate velit esse cillum dolore eu fugiat nulla pariatur.
Excepteur sint obcaecat cupiditat non proident, sunt in culpa qui
officia deserunt mollit anim id est laborum.
Lorem ipsum dolor sit amet, consectetur adipisici elit,
sed eiusmod tempor incidunt ut labore et dolore magna aliqua.
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
nisi ut aliquid ex ea commodi consequat. Quis aute iure reprehenderit
in voluptate velit esse cillum dolore eu fugiat nulla pariatur.
Excepteur sint obcaecat cupiditat non proident, sunt in culpa qui
officia deserunt mollit anim id est laborum.
Lorem ipsum dolor sit amet, consectetur adipisici elit,
sed eiusmod tempor incidunt ut labore et dolore magna aliqua.
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
nisi ut aliquid ex ea commodi consequat. Quis aute iure reprehenderit
in voluptate velit esse cillum dolore eu fugiat nulla pariatur.
Excepteur sint obcaecat cupiditat non proident, sunt in culpa qui
officia deserunt mollit anim id est laborum.
\hspace #0
\justify {
Lorem ipsum dolor sit amet, consectetur adipisici elit,
sed eiusmod tempor incidunt ut labore et dolore magna aliqua.
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
nisi ut aliquid ex ea commodi consequat. Quis aute iure reprehenderit
in voluptate velit esse cillum dolore eu fugiat nulla pariatur.
Excepteur sint obcaecat cupiditat non proident, sunt in culpa qui
% Note: In lilypond 2.14 and later, you can even add footnotes:
officia deserunt mollit anim id est \footnote laborum. \line{This is just a test footnote!}
}
\hspace #0
\justify {
Lorem ipsum dolor sit amet, consectetur adipisici elit,
sed eiusmod tempor incidunt ut labore et dolore magna aliqua.
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
nisi ut aliquid ex ea commodi consequat. Quis aute iure reprehenderit
in voluptate velit esse cillum dolore eu fugiat nulla pariatur.
Excepteur sint obcaecat cupiditat non proident, sunt in culpa qui
officia deserunt mollit anim id est laborum.
}
\hspace #0
}
% Second column
\override
fixcc.py and variable assignments on two lines
fixcc.py seems to mess up indentation of variable assignments that are spread over two lines. In particular, if you have static char const *WARRANTY = _i (This program is free software; you can redistribute it and/or\n then fixcc.py will change it so that the second line will NOT be indented: static char const *WARRANTY = _i (This program is free software; you can redistribute it and/or\n Is this really what we want? Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multi-column text
Am Wednesday 03 August 2011, 22:32:39 schrieb Christopher R. Maden: So I’m trying to use \markuplines and \column-lines instead, but I can’t figure out how to actually get multiple columns with that. Is column-lines just a way of making lists? Is there a way to ask for a two-column multi-page flow without explicit breaking? Nope, Lilypond doesn't try to be a full text layout application. You cannot do multi-column text with automatic line- and column-breaking. I am using Latex for such things like preface, lyrics and translations (Initially I tried to use lilypond, that's why I wrote that other snippet that Harm suggested; But then decided that lilypond simply isn't capable of what I need), critical report, etc. Cheers, Reinhold -- -- Reinhold Kainhofer, Vienna University of Technology, Austria email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/ * LilyPond music typesetting software, http://www.lilypond.org/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Changing to Gonville font
On Tue, 2 Aug 2011, James Lowe wrote: I've looked at the documentation and I remember the conversation I had with our Doc Meister, normally you would do this (at least on Mac OS - which I used at the time) via a terminal and there is no 'rename' command, so when you mv folder_name new_folder_name you are actually 'moving' the directory in the traditional sense. It's basically the same on Linux, with a very important exception: if the new_folder_name already exists, then the above 'mv' command will move folder_name INSIDE new_folder_name, so that you then have folder_name/new_folder_name. On the other hand, if new_folder_name doesn't exist, it will basically rename folder_name to new_folder_name. I have stumbled into problems with this behavior several times already... Cheers, Reinhold ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple timesignatures
Am Samstag, 23. Juli 2011, 19:28:08 schrieb Ruud van Silfhout: However, I thought now compoundMeters made it into lily, it is also time that multiple meters should make it into lily as a logical successor :-). Actually, dual times (like 3/4 5/4) are not easy to support in lilypond, because lilypond relies on the time signature to calculate the measure length (the | are just checks, they don't cause a new measures!). For dual times, each measure length might be either of the two values, possibly with no logical structure, so lilypond does not have any information about the measure length. (For dual times like 3/4 6/8 which have the same length the measure length is not a problem, but now lilypond doesn't know which automatic beaming to apply to a measure...) Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: footer issue
Am Freitag, 15. Juli 2011, 11:46:03 schrieb christophe 1710:
i would like to sumite you an issue i have footers.
In the example I've provided to you, you can see that the tagline is
correct. But if I want to add a different footer for the others pages,
this is not working fine.
[...]
In fact the oddFooterMarkup take the control for the last page footer any
suggestion ?
Exactly. The tagline is not a separate entity, but is rather a string that is
printed in the default setting of oddFooterMarkup. Since you overwrite the
oddFooterMarkup, it will not be printed. For your reference, the default
oddFooterMarkup (in ly/titling-init.ly) is:
oddFooterMarkup = \markup {
\column {
\fill-line {
%% Copyright header field only on first page.
\on-the-fly #first-page \fromproperty #'header:copyright
}
\fill-line {
%% Tagline header field only on last page.
\on-the-fly #last-page \fromproperty #'header:tagline
}
}
}
As you can see, you need to include the tagline yourself in the footer if you
want to get it printed...
Cheers,
Reinhold
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Re: font survey: which clef do you prefer?
Am Sonntag, 10. Juli 2011, 12:17:28 schrieb Dmytro O. Redchuk: On Sat 09 Jul 2011, 01:58 Janek Warchoł wrote: Hi all, currently it is: right: [...] Dmytro Actually, I would like the third (right one) to be a bit higher (and deeper, probably). Me too. When I originally responded, I didn't pay attention at all to the upper loop (only the later example made me realize that it was dramatically decreased). I was mainly paying attention to the vertical line. So, I prefer the upper loop of the original clef, but the vertical line of the third one... Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org signature.asc Description: This is a digitally signed message part. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can't get \RemoveEmptyStaffContext and \RemoveEmptyRhythmicStaffContext to work together
Am Freitag, 8. Juli 2011, 03:52:54 schrieb Brett McCoy:
And neither work, my rhythmicstaff is still printing with empty staves
where I expect it to be suppressed. What is the correct syntax when
using both?
Both should work just as well, and both do work here (example attached). Can
you send us a minimal example (including the staves)? Maybe the problem lies
elsewhere
Cheers,
Reinhold
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--
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* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
\version 2.15.0
\score {
\new Staff \relative c'' {
c1 |r1 | \break R1*3 | c1
}
\new RhythmicStaff {
c1 | r1 | \break R1*3 | c1
}
\new RhythmicStaff
{
c1 | r1 | \break d1 d \break d d |
}
}
\layout {
% \context {
% \RemoveEmptyStaffContext
% }
%\context {
% \RemoveEmptyRhythmicStaffContext
% }
% BETTER:
\context {
\Staff
\RemoveEmptyStaves
}
\context {
\RhythmicStaff
\RemoveEmptyStaves
}
}
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Re: Best Practices for Multiple Part Scores
Am Donnerstag, 7. Juli 2011, 15:25:43 schrieb couch...@gmail.com: I would like to set a large piece with multiple parts, with the option of producing single-part scores (e.g. an orchestral piece). I have found that very quickly my source files get out of control. What are the best practices I should be following to keep everything clean and D.R.Y.? I would recommend my OrchestralLily package, which works great for this very purpose (e.g. I'm using it to easily produce scores like http://www.edition- kainhofer.com/de/webshop.html?page=shop.product_detailsproduct_id=161 ) but unfortunately, I haven't kept the documentation up to date. The thing closest to a proper documentation is my paper: http://kainhofer.com/Papers/Kainhofer_OrchestralLily_LAC2010.pdf I always find it really amazing how few adjustments I actually have to make to create good-looking scores (shifting a dynamic every now and then to the left of a note, or overriding the part-combiner). - File structure: one per part (makes sense to me) or one for the score and parts pulled out with tags (suggested by the manual)? Other options? How should I pull this all together? I'm using one definitions file that contains the music definitions for all instruments of the piece, several settings files, plus one file for each score (i.e. each instrument, the full score, the choral and vocal scores). That score file includes the definitions file and is typically very short. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Page number offset and placement
Am Donnerstag, 7. Juli 2011, 16:06:17 schrieb Kieren MacMillan: Hi Hilary, Is it possible to (1) allow the page-turn-breaker to behave normally but, if the first page number is 2, decrement all of the printed page numbers by 1, (2) place the odd page numbers in the top left corner of a page and the even numbers in the top right corner? This is for a case where a part will fit onto 4 pages, but only if the page layout is LR+LR rather than R+LR+L. (I seem to have a few of these.) Wouldn't it be easier just to add a blank [unnumbered] page to the score? No, because then the score has 5 pages and does no longer fit on one sheet... Basically, what he wants is 2-up page layout rather than booklet layout. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: font survey: which clef do you prefer?
On Mi., 6. Jul. 2011 21:10:51 CEST, Janek Warchoł lemniskata.bernoull...@gmail.com wrote: Which one of the clefs in the attachment do you like best? The last one. In the first one, the vertical strike looks too straight. The second one feels unbalanced and looks loke it's falling over to the right any second. However, even in the third clef, the curvature of the vertical line looks a bit too straight in the lower half... Cheers, Reinhold ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
