Date: Fri, 13 Sep 2013 14:31:47 -0700 (PDT)
From: MING TSANG tsan...@rogers.com
To: Urs Liska u...@openlilylib.org, Kieren MacMillan
kieren_macmil...@sympatico.ca
Cc: David Nalesnik david.nales...@gmail.com,lilypond-user@gnu.org
lilypond-user@gnu.org
Subject: Re: 350
Hi Urs.
In your example, if you lay the second version out as if the notes had twice
the durations they actually have, then it looks nice:
\version 16.0
firstVersion =\relative e'' {e2. e4 | g2. cis,4 |}
secondVersion =\scaleDurations #'(2 . 1)\relative e'' {e4~ e16[ fis] e[ fis]
g4. cis,8 |}
Hi Urs.
I tried to send a reply earlier. I don't know if I succeeded, but the method I
suggested was not good enough anyway. Here's my second attempt at a solution to
your problem:
\version 16.0
firstVersion =\relative e'' {e2. e4 | g2. cis,4 |}
secondVersion =\scaleDurations #'(2 . 1)\relative
rests in the
other Voice:
mus =
{
{ \override Rest #'staff-position = #0
e'8 r g' r e'' r g'' r
}
\\ { c'8 s e'8 s c'' s e'' s }
}
\score
{
\mus
}
Richard Sabey
___
lilypond-user
Hello, Graham, and thank you for responding.
Since sending my initial enquiry to this list I have indeed written an app
which confirmed to me what you say.
Thanks also for that Python app. I plumped for your Python v.3.2 version and
installed Python v.3.2 accordingly.
There is a problem, in
I notice that, if a note is not a whole number of semitones from c (so a MIDI
pitch bend message must be sent), then the release phase of the sound is not
pitch bent. Is this unavoidable behaviour of MIDI or a deficiency in Lilypond?
See the example below. The first note and rest show the
Kieren MacMillan wrote
So count me as another vote for there is no single correct answer.
I echo those words, and I offer another suggestion:
{
\time 3/4
\override TupletNumber #'text =
#(tuplet-number::non-default-tuplet-denominator-text 2)
\times 3/4 { c2 c }
\revert
Keith,
Thank you for your message. Your suggestion of ly:set-default-scale, together
with ly:make-scale, turned out to do just what I wanted. That showed me what to
Google for, and that gave me the info I needed.
Richard
Message: 5
Date: Sat, 28 May 2011 23:17:48 + (UTC)
From: Keith
The way /usr/share/lilypond/current/ly/makam.ly is written suggests that
Lilypond determines which accidental is appropriate for a pitch from one
quantity only, namely by how much it is higher or lower than the MIDI pitch of
the same letter-name and the same octave. Taking an example from
Keith O'Hara wrote:
This looks like the strange bug reported at
http://code.google.com/p/lilypond/issues/detail?id=1646
The released 2.13.61 build produces a midi file with notes in the first beat
sent to channel0, which was set to sound as violin, but later notes sent to
channel1.
Carl Sorensen wrote:
The core problem is -- how do you distinguish between a2 c (two notes) and
a2c (you want it to be a variable) - currently it will be two notes.
I might have missed something here, but: in what circumstances can a pitch-name
and a variable-name both be legal?
Inside a music
I am getting notes in Lilypond's MIDI output being played by the MIDI piano
instrument rather than the instrument I specify. This occurs when I remove
Staff_performer from the Staff context and insert it into the Voice context.
Here's a tiny example. The MIDI file I get plays the first two
How come LilyPond can't output the correct MIDI for 2 or more simultaneous
notes in a non-standard tuning? After all, it does output the correct MIDI for
individual notes in a non-standard tuning.
Investigating LilyPond's limits in this area, I find that LilyPond outputs the
correct MIDI for
Thank you, Xavier, for your suggestion. I had wondered if there was a solution
which I could apply more generally, but it seems that I will have to deal with
each case separately, guessing what limit to apply to the length of a
MultiMeasureRest.
This still doesn't deal with cases where there
I have an orchestral piece where the score and all the parts have the same
tempo marks at the same moments in musical time. If a tempo mark's text is
long, and an orchestral part has little music between it and the next tempo
mark, Lilypond will allow the music to take less horizontal space
For the task of coding music where a rhythmic pattern occurs many times with
various pitches and/or chords, I have found two utilities that have been of use
to me:
changePitch at http://gillesth.free.fr/Lilypond/changePitch/changePitch.ly
defineTransform in LSR 346
However, each has its
Alkan uses an F triple sharp in at least 2 works:
Quasi-Faust, the 2nd movement of Grande Sonate op.33:
http://www.rsabey.pwp.blueyonder.co.uk/img/AlkanGrandeSonateP31Part.gif
(lower stave, 2nd beat)
Allegretto alla barbaresca, the Concerto's 3rd movement, which is the 10th of
the studies in
Date: Fri, 15 Oct 2010 23:30:59 +0100
From: Wols Lists antli...@youngman.org.uk
On 15/10/10 22:18, Phil Holmes wrote:
I made the comment since there had been a discussion about this
terminology on .devel.
BTW - staffs is a perfectly good plural of staff. Stave is a
perfectly
I find that with some of my Lilypond scores v.2.13.26 lays the score out on
more pages than v.2.13.17 did, e.g. 4 pages instead of 3 or 28 instead of 18.
An example, as tiny as I can make it, follows. With the default font size of 20
and paper size A4, v.2.13.26 lays this out on 16 systems and
Please, how do I set up a text spanner so that its end-text is in the correct
place, if there also happens to be a tempo indication there? In the example
below, I intend the a tempo to come at the start of bar 3, but it is late. It
seems that the left-hand edge of a tempo is vertically aligned
Eluze,
Thank you for that suggestion. It works.
(I had looked TextSpanner up in Internals, but it wasn't obvious from the
documentation there that TextSpanner even has a property #'(bound-details right
attach-dir), let alone that that property was the right one for this task.)
Date: Thu, 17
Thank you, Eluze! Your suggestion helped. Thanks to your suggestion, and a few
more hacks of my own, I was able to solve a more tricky problem. This involves
connecting an arpeggio to one note of a two-note chord, which should appear as
a chord, not as a stem-up note and a stem-down note in
How do I arpeggiate some but not all the notes of a chord?
In the example below, each arpeggio line spans all three notes, but it should
span only the lower two. However, if \stemDown is removed, then (as the source
indicates) each arpeggio line spans only the two notes of the chord to which
Occasionally Lilypond decides to fit so many bars into a system that notes are
squeezed so tightly together that, in a beamed group, a later note's downward
stem can fall to the left of an earlier note's upward stem. The noteheads are
in the correct left-to-right order but the stems are in the
Well it seems that this is two much of sharp signs for lily to make
it fit the linewidth.
The example I gave isn't the actual music I'm trying to lay out! It is just a
small test example crafted in order to show the effect of the bug.
.
Try to add a \bar at the end of your \repeat unfold thing
How can I get Lilypond to beam dotted quavers in 12/16 as 2 pairs per bar
automatically, while retaining its default behaviour of beaming semiquavers in
4 threes per bar? I've tried what I thought was the correct syntax, but it
fails.
%%% beginning of example
\version 2.13.17
{
\time
Lilypond 2.13.6 has what looks like a bug: when two chords are to be tied, and
there are notes that should be tied, and also notes that are on the same level
but have different pitches and thus should not be tied, sometimes the latter
are tied and the former are not.
This happens even if the
Thank you for that reference, Mats. So there on that web page are an
explanation of what the function does, and a picture of its effect, but where
is the snippet, please? (I mean the Lilypond code)
The LSR home page doesn't say how to obtain the snippets, either. I did
investigate its Snippet
How can Lilypond be used to create music in free time, with bar lines only
where I explicitly put them in using \bar |? I've tried using \cadenzaOn but
then Lilypond mismanages accidentals. I need a bar line to stop the effect of
all accidentals (with the possible exception of notes tied from
: Fri, 13 Nov 2009 18:40:21 +0100
To: richardsa...@hotmail.co.uk
On 13.11.2009, at 18:07, Richard Sabey wrote: How can Lilypond be used to
create music in free time, with bar lines only where I explicitly put them in
using \bar |? I've tried using \cadenzaOn but then Lilypond mismanages
Thank you, Neil. Combining our ideas, I tried
x = { \cadenzaOff \set Staff.localKeySignature = #'() \bar | \cadenzaOn }
which had the effect I wanted.
Luckily the piece I was working on had a key signature of nothing. However, on
trying with a non-null key signature, I find that it makes
not using \\ constructs, what workaround is there, please? I
find the \\ construct very useful for entering music when there are more
contrapuntal parts than staves, or when the music goes from linear to
contrapuntal and back.
Richard Sabey
%%% First Lilypond file
\version 2.13.6
music
Reporting back to say that Kieren's suggestion has solved this problem of mine.
From: richardsa...@hotmail.co.uk
To: kieren_macmil...@sympatico.ca
Subject: RE: Tuplet spanner length bug in v.2.13?
Date: Sat, 24 Oct 2009 14:25:17 +
Hi Kieren,
Thank you. That does indeed help. I will
I'm laying out a piece of piano music which is monophonic, but with the notes
passing frequently from hand to hand. For the performer's convenience I notate
it on two staves. For my own convenience, I'm coding it as if there is only one
strand of music, and I use \change Staff as necessary. I
Just to update you on the problem I'd reported earlier, regarding trying to get
Lilypond to lay a song out on 3 pages, I found a workaround:
In the Lilypond source where this song failed to lay out on 3 pages, that
song's staff size (16) was smaller than that of the other songs in the cycle.
I am trying to lay out a book containing 5 songs. There is a \bookpart block
for the title page, then a \bookpart block for each song. There is no explicit
\book block. How do I get page numbers on all pages, including the first page
for each song, except the title page? I have tried setting
I am having trouble getting Lilypond to lay some music out on my desired number
of pages, and so I'm posting this in search of suggestions.
The piece is a song. I want it on 3 pages (left, right, left). There is a
forced \pageBreak. When this song is coded on its own, Lilypond successfully
Thank you for your suggestion, Gilles.
I found that using \partcombine produced output that looked even worse for what
I wanted. When used on my actual composition (i.e. not the example I provided
in my original message), I found:
* sometimes tenor notes are in the upper stave when they should
(This message is a second attempt to send my query to the Lilypond mailing
list. It is identical to my message
http://www.nabble.com/Shifting-down-stemmed-notes-rightwards-td24379277.html
which was posted to the messageboard yesterday but has not yet been sent to
the mailing list.)
How can I
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