Re: Spanner trouble
Neil Puttock wrote: Hi David, Are you using LilyPondTool's JPedal plugin for viewing your output files? I had the same problem a while back with ottava spanners, and was on the verge of posting a bug report until I opened the offending file in Foxit. It seems JPedal has a rendering bug which messes up dashed or dotted spanners. Regards, Neil Wow, yeah, that was it! As soon as I read your mail I remembered that I had a similar problem with some glyph (umlaut-o, maybe) and Unicode with JPedal. That also would render correctly in another viewer. Thanks! -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Baroque ornamentation
Hello: Does Lilypond have a way to print a pre-classical period appogiatura as preceding a prall or mordent? It looks like a tie or a slur tipped at an angle just before the note which is ornamented. In checking how this is performed I understand that it is an appogiatura as J.S. Bach would have written it. It was J.C. Bach ( I believe ) who began the practice of writing appogiaturas with a note value rather than just an ornament glyph. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
markup in one line
Hi,
is there any solution to have the markup in one line?
Wolfgang
##
\new Score \with {
\override TimeSignature #'transparent = ##t
defaultBarType = #
\remove Bar_number_engraver
}
\context Staff
{\override TextScript #'padding #2
\time 4/4
c' e' g'1_I c' es' g'_Im \bar||
des' f' as'1_\markup{ \flatII}
cis' e' gis'1_\markup{\flatIIm} \bar ||
d' fis' a'1_\markup{II}
d' f' a'1_\markup{IIm} \bar ||
-
Wolfgang Mechsner
[EMAIL PROTECTED]
www.wolfgang-mechsner.de
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re: crescendo beginning in middle of note duration
This question is answered in the second example of the section on Dynamics in the manual. Peter, can you provide a hint on how to make it even more clear? /Mats It is very difficult to say any of this clearly and concisely. The only positively misphrased bit seems to be the phrase spacer notes; these should instead be referred to as spacer rests as elsewhere in the manual. The example given in code and graphics displays all the desired features, so there's no sense changing that. Only the verbal explanation is in need of any possible alteration, viz.: Because these marks are bound to notes, it becomes necessary to apply them instead to spacer rests (1) whenever multiple marks are needed during a single note, or (2) whenever such a mark needs to begin or end in the middle of a note duration. That last bit of phrasing could use some more work, but as I said, it gets very wordy very quickly. - pk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup in one line
Op maandag 10 maart 2008, schreef Wolfgang Mechsner:
\new Score \with {
\override TimeSignature #'transparent = ##t
defaultBarType = #
\remove Bar_number_engraver
}
\context Staff
{\override TextScript #'padding #2
\time 4/4
c' e' g'1_I c' es' g'_Im \bar||
des' f' as'1_\markup{ \flatII}
cis' e' gis'1_\markup{\flatIIm} \bar ||
d' fis' a'1_\markup{II}
d' f' a'1_\markup{IIm} \bar ||
I fixed your example a bit (without changing):
\new Score \with {
\override TimeSignature #'transparent = ##t
defaultBarType = #
\remove Bar_number_engraver
}
\context Staff {
\override TextScript #'padding = #2
\time 4/4
c' e' g'1_I c' es' g'_Im \bar||
des' f' as'1_\markup{ \flatII}
cis' e' gis'1_\markup{\flatIIm} \bar ||
d' fis' a'1_\markup{II}
d' f' a'1_\markup{IIm} \bar ||
}
I would use:
\override TextScript #'staff-padding = #5
but the texts are still not perfectly aligned (because of their up-extents
differing).
there should be a way to have them aligned on the text baseline. But I don't
know it (yet).
another solution would be (ab)using lyrics:
\new Score \with {
\override TimeSignature #'transparent = ##t
defaultBarType = #
\remove Bar_number_engraver
}
\context Staff {
\time 4/4
c' e' g'1 c' es' g' \bar||
des' f' as' cis' e' gis' \bar ||
d' fis' a' d' f' a' \bar ||
} \addlyrics {
\markup I \markup Im
\markup{\flat II} \markup{\flat IIm}
\markup II \markup IIm
}
best regards,
Wilbert Berendsen
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Re: The LilyPond Report: a new weekly opinion column about Lily's world
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Sonntag, 9. März 2008 schrieb Valentin Villenave: Here's my last one (i don't know if I'll be able to maintain it, but it's just fun to launch it anyway): a short informal, weekly opinion column about the LilyPond project; [...] Welcome to this beta issue of the LilyPond Report! Wow, awesome! Thanks for that great promo source. (I just wish the lilypond.org start page would look a polished/graphically designed as that one!) Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH1aCTTqjEwhXvPN0RAlqRAKCL2QiBNVKCmFLuPoFpAeT6TZ2BzgCgpGHN FoTaWILjXC11po/nK6Q9PEk= =u4jF -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
absolute relative together
I've realized that I may have painted myself into a bit of a corner. I'm working on an orchestral part with cues. The main part needs to be transposed. I have defined the cues and the main part in separate blocks. I have used \relative for both. Now I'm realizing that perhaps it would have been more clever to define the cues with absolute pitches rather than using \relative so I can really freeze their positions (I want the cues at their original pitches when the main part is transposed). Is there an elegant fix for this or do I simply have to go through the cue definitions and enter all the , and ' for their absolute pitches? -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: absolute relative together
Isn't this what \transposition and/or octave checks are for? Please see NR 1.1 Pitches. Cheers, - Graham On Mon, 10 Mar 2008 21:39:15 + David Bobroff [EMAIL PROTECTED] wrote: I've realized that I may have painted myself into a bit of a corner. I'm working on an orchestral part with cues. The main part needs to be transposed. I have defined the cues and the main part in separate blocks. I have used \relative for both. Now I'm realizing that perhaps it would have been more clever to define the cues with absolute pitches rather than using \relative so I can really freeze their positions (I want the cues at their original pitches when the main part is transposed). Is there an elegant fix for this or do I simply have to go through the cue definitions and enter all the , and ' for their absolute pitches? -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Text crescendi with hidden line and their position
I've run into a problem with text crescendi: I don't want any spanner lines
for the cresc., dim., cresc molto. etc. spanners, so I'm setting their
#'dash-period to #-1.0. However, in this case, the position of the cresc.
text is still calculated as if the line was present. In most cases that's no
problem, but if there is one extreme note in the whole span, the cresc.
will be shifted to a position where it is simply inappropriate.
Attached is an example of the problem.
In all hand-engraved editions that I have, the cresc. is printed directly
above the staff, although the crescendo spanner really lasts longer and
includes a high note.
Is there any way to achieve a position of the cresc. directly at the staff
(except for using ordinary markup text, which does not work e.g. in midi (and
also breaks if/when Lilypond one day gets a MusicXML backend)?
Thanks a lot,
Reinhold
--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung Jung-Wien, http://www.jung-wien.at/
\version 2.11.41
\score {
\context Staff
\context Voice
\dynamicUp
\relative c' {
% Clearly, here the cresc. needs to be high above the staff
\setTextCresc
c4\_Default c' e' c,\!
% When hiding the line, the cresc. should not calculate its position
% including the invisible line
\setTextCresc \override DynamicTextSpanner #'dash-period = #-1.0
c,4\_Hidden, way too high c' e' c,\!
% Trying to set the style to something like none does not work (solid line!)
\setTextCresc \set crescendoSpanner = #'none
c,4\_style=#'none c' e' c,\!
% This produces the output that I want, but unfortunately it's not a
% dynamics mark and the extension of the spanner is lost (just in case
% Lilypond some day is able to export e.g. to MusicXML that's relevant
% information!!!)
c,4^\markup{\italic cresc.}_normal text markup c' e' c,
}
}
text_spanner_no_line.pdf
Description: Adobe PDF document
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Automatic check for ended \ or \?
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Is there any way to make lilypond check whether all \ or \ are explicitly ended? Since I've defined my own commands to produce the \ and apply/reset some settings (and since unended crescendi are broken in midi), I'd really like to make lilypond check whether I have missed some ending marks. E.g. I'd like to get a warning about the not-explicitly ended crescendo in this example: c\ c\ c\! Is there any setting that will trigger such warnings? Thanks, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH1bc6TqjEwhXvPN0RAkBnAKC7GLvEZb4ad3g7hJq/KN/sXIykXACfUZQK jTWRclzfzaENpKp76lz8XHw= =JRGP -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: absolute relative together
Um, no, not at all. That's not the problem. Looking at it some more it seems that what I need is more clef changes in and out of the cues in order to insure that different transpositions of the main part,including transpositions involving different clefs will produce the results I'm after. -David Graham Percival wrote: Isn't this what \transposition and/or octave checks are for? Please see NR 1.1 Pitches. Cheers, - Graham On Mon, 10 Mar 2008 21:39:15 + David Bobroff [EMAIL PROTECTED] wrote: I've realized that I may have painted myself into a bit of a corner. I'm working on an orchestral part with cues. The main part needs to be transposed. I have defined the cues and the main part in separate blocks. I have used \relative for both. Now I'm realizing that perhaps it would have been more clever to define the cues with absolute pitches rather than using \relative so I can really freeze their positions (I want the cues at their original pitches when the main part is transposed). Is there an elegant fix for this or do I simply have to go through the cue definitions and enter all the , and ' for their absolute pitches? -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: absolute relative together
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 10. März 2008 schrieb David Bobroff: Um, no, not at all. That's not the problem. If you could describe in a little more detail what you are trying to do (i.e. what are your cue voices, clefs, transposing instruments, etc.), we might be better able to help you come up with the proper solution... Looking at it some more it seems that what I need is more clef changes in and out of the cues in order to insure that different transpositions of the main part,including transpositions involving different clefs will produce the results I'm after. Ah, so you are actually trying to print cue notes in different clefs? See the snippet: http://lsr.dsi.unimi.it/LSR/Item?id=388 If you don't need cue instrument names, you can simply remove them from the definition of the cleffedCueDuring and setClefCue functions. BTW, if you really need to convert some transposed music from relative to absolute, make sure to check whether the output of \displayLilyMusic (see section 3.3.1 of the lilypond manual for version 2.11) produces what you need... It helped me a lot when I realized I had entered a long section in the wrong pitch (you know, 18th century alto/soprano clefs...). The only thing that is wrong in the output are bar number checks. Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH1b0XTqjEwhXvPN0RAt4zAJ0fkYRWXJJBPS+Y7YGaH7N+COpohgCcCplj 6QrxaAvwwcT9Sr8pPrmYM2U= =Q9bt -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: absolute relative together
Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 10. März 2008 schrieb David Bobroff: Um, no, not at all. That's not the problem. If you could describe in a little more detail what you are trying to do (i.e. what are your cue voices, clefs, transposing instruments, etc.), we might be better able to help you come up with the proper solution... Well, specifically, I'm preparing a transposed, or rather de-transposed, tenor tuba part for Don Quixote of R. Strauss. The original part is in bass clef but in a Bb transposition. I'm keeping it in bass clef but transposing it down a step. This is no problem. Furthermore, I'm including all the original cues at their original notated pitches. All the cues are in a separate definition block. I ran into a problem when I decided it would be interesting to also create a Bb Treble clef notated version while at the same time retaining all the original cues at their original pitches and clefs. It seems that I do *not* need to change all the cues from \relative to absolute. All I need to do is place a few more explicit clef changes at points where in the original there were not clef changes between the cues and the main part. If the clef remains the same then Lily will not print a new clef. If it changes, then it does. -David Looking at it some more it seems that what I need is more clef changes in and out of the cues in order to insure that different transpositions of the main part,including transpositions involving different clefs will produce the results I'm after. Ah, so you are actually trying to print cue notes in different clefs? See the snippet: http://lsr.dsi.unimi.it/LSR/Item?id=388 If you don't need cue instrument names, you can simply remove them from the definition of the cleffedCueDuring and setClefCue functions. BTW, if you really need to convert some transposed music from relative to absolute, make sure to check whether the output of \displayLilyMusic (see section 3.3.1 of the lilypond manual for version 2.11) produces what you need... It helped me a lot when I realized I had entered a long section in the wrong pitch (you know, 18th century alto/soprano clefs...). The only thing that is wrong in the output are bar number checks. Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH1b0XTqjEwhXvPN0RAt4zAJ0fkYRWXJJBPS+Y7YGaH7N+COpohgCcCplj 6QrxaAvwwcT9Sr8pPrmYM2U= =Q9bt -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text crescendi with hidden line and their position
Hi Reinhold, Is there any way to achieve a position of the cresc. directly at the staff (except for using ordinary markup text, which does not work e.g. in midi (and also breaks if/when Lilypond one day gets a MusicXML backend)? Vertical positioning of this is done by the DynamicLineSpanner object, so all you need to do is override its Y-offset property: \once \override DynamicLineSpanner #'Y-offset = #0 Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text crescendi with hidden line and their position
Am Montag, 10. März 2008 schrieb Reinhold Kainhofer:
I've run into a problem with text crescendi: I don't want any spanner lines
for the cresc., dim., cresc molto. etc. spanners, so I'm setting
their #'dash-period to #-1.0. However, in this case, the position of the
cresc. text is still calculated as if the line was present.
I found an even worse (and just as simple) example, where even a key change
messes things up. To make think worse, the bar number is printed ABOVE the
hidden spanner and thus also way too high...
Cheers,
Reinhold
--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
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* Chorvereinigung Jung-Wien, http://www.jung-wien.at/
\version 2.11.41
#(set-bar-number-visibility 1)
\relative c'' { \dynamicUp
% Show bar numbers
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
% set text crescendi and hide the line
\setTextCresc \override DynamicTextSpanner #'dash-period = #-1.0
c1\ |
\key a \major
c1\p
}
text_spanner_no_line1.pdf
Description: Adobe PDF document
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Re: absolute relative together
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Dienstag, 11. März 2008 schrieb David Bobroff: Reinhold Kainhofer wrote: If you could describe in a little more detail what you are trying to do (i.e. what are your cue voices, clefs, transposing instruments, etc.), we might be better able to help you come up with the proper solution... Well, specifically, I'm preparing a transposed, or rather de-transposed, tenor tuba part for Don Quixote of R. Strauss. The original part is in bass clef but in a Bb transposition. I'm keeping it in bass clef but transposing it down a step. By transposing, do you mean transposing the concert pitch so that instead of a bes and as should sound? Or do you just want to transpose the written pitch (i.e. to as transposition), leaving the concert pitch the same? In the latter case, \transposition and a subsequent \transpose is really what you are looking for. In the first case, shouldn't also all other instruments (and thus also the cue notes) be transposed, because otherwise they would not sound well together... This is no problem. Furthermore, I'm including all the original cues at their original notated pitches. All the cues are in a separate definition block. Excuse me, but I don't really understand this. Aren't cue notes in scores for transposing instruments also properly transposed? E.g. if you have a score for an instrument in bes (so what looks like a c is actually a bes) and the cue instrument plays a (real) c, where will this note be shown in the score for the Bb instrument? Between the third and fourth line (thus looking like a bes), or on the fourth line? You might also take a look at the recent thread: http://lists.gnu.org/archive/html/lilypond-user/2008-03/msg00073.html In my example there, the first line is e.g. violin 1 and plays real c's. The second line is a transposing instrument in f, also playing c's. In the third measure, there is a cue note from the violin (a c''). Where do you want this note to be displayed? Like in the PDF (i,e, at the same staff position as in the violin score, thus looking like an f to the player of the transposing instrument) or at the same pitch as the other c''s for the transposing instrument? I ran into a problem when I decided it would be interesting to also create a Bb Treble clef notated version while at the same time retaining all the original cues at their original pitches and clefs. Doesn't this also include some key changes to make up for the tranposition? (BTW, are you talking about concert or written pitch?) Sorry for my ignorance, but I only recently learned about transposing instruments, when I wrote a score for Corni. There, I printed all cue notes also transposed, so that the same sounding note in the cue instrument and the corno score look exactly at the same position. In particular, in my score http://www.fam.tuwien.ac.at/~reinhold/temp/Schubert_StabatMater_D383_CorII.pdf in measure 56 of Nr.9 Chor (middle of the second page), the Fag./Tr.3 are actually notated in bass clef in their scores and play b - a - gis - fis (but since the score is in e, the cue notes are displayed as g - f - e - d, which in concert pitch is the correct b-a-gis-fis). Am I wrong here? Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH1crJTqjEwhXvPN0RAmWoAKC+8R1UNKtJ3WrgtvoI76M8vQbG2ACfUFHV LELhtsZUv3YRQJXzhlf3228= =P7NL -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text crescendi with hidden line and their position
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Dienstag, 11. März 2008 schrieb Neil Puttock: Hi Reinhold, Is there any way to achieve a position of the cresc. directly at the staff (except for using ordinary markup text, which does not work e.g. in midi (and also breaks if/when Lilypond one day gets a MusicXML backend)? Vertical positioning of this is done by the DynamicLineSpanner object, so all you need to do is override its Y-offset property: \once \override DynamicLineSpanner #'Y-offset = #0 Thanks for the hint, but the problem is that this would need to be set manually for every spanner (and I have ~250 in one score and ~300 in the other!). Besides, these spanners also align a \p that is right at the end of the spanner and also a possible bar number... (See my second example). So, basically, I'm looking for a way to force the text crescendo not to create a spanner object at all (which will have side-effects on the position of several other items), but just print the text. Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH1crYTqjEwhXvPN0RAmdTAJ4xudeZsYSXjv4GdbKrnQ0E2tP2AQCgya5D DA+g+/jIHAds+RxyChdVPI0= =L0P8 -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Baroque ornamentation
Some further information on this ornament. Groves Dictionary of Music and Musicians lists it as Double curve rising to note: Lower appogiatura with slur -- Early 18th Century German including J.S.Bach and Double curve falling to note: upper appoggiatura with slur --- Early 18th Century German including J.S.Bach Groves illustrations leave much to be desired. They are hand scrawled! However this page has good illustrations off all these ornaments: http://www.iment.com/maida/familytree/henry/music/bachnotation.htm Section 9-12 Has *good* illustrations of at least one of these ornaments. It is the double curve that I am in need of. cheers, David On Mon, Mar 10, 2008 at 1:41 AM, David Fedoruk [EMAIL PROTECTED] wrote: Hello: Does Lilypond have a way to print a pre-classical period appogiatura as preceding a prall or mordent? It looks like a tie or a slur tipped at an angle just before the note which is ornamented. In checking how this is performed I understand that it is an appogiatura as J.S. Bach would have written it. It was J.C. Bach ( I believe ) who began the practice of writing appogiaturas with a note value rather than just an ornament glyph. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Better Midi, anyone?
Hi folks, The artemis orchestra competition has specified Lilypond as its input format (see https://www.artemisia-association.org/artemis_orchestra ) for robotic instruments. We're trying to put together an entry (our robotic violinist was entered last year, with some success; (http://www.nicta.com.au/news/previous_releases3/2007_media_releases/syo_violinist_performs_with_award-winning_robofiddler ) Anyway, to the point. We want to use MIDI as an intermediate language for controlling the robot, but Lilypond's midi output ignores most of the input. For example, articulation (staccato, tenuto, accents and slurs), dynamics (I can't work out how to get a smooth crescendo on a single note), and ornaments (trills, mordents, turns etc., are not expanded). Before I start working on any of this, is anyone else doing anything in the area? Most of it may be doable by scheme scripts inserted into the source file before calling Lilypond. Harder stuff is interpreting the purely textual annotations. For example, `poco rall', `molto rit.', `a tempo', 'Tempo I', 'estinto', 'sotto voce', or (some of my favourites, from a piece by Messaien) `perdu', or `comme oiseaux'. It'd be possible to translate some of these into metronome markings or \ or similar; others, I have no idea about. Non-notated repeats are also going to be hard (`dal segno al coda', `dal segno al fine') -- Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better Midi, anyone?
On Tue, 11 Mar 2008 12:30:07 +1100
Peter Chubb [EMAIL PROTECTED] wrote:
Before I start working on any of this, is anyone else doing anything
in the area? Most of it may be doable by scheme scripts inserted into
the source file before calling Lilypond.
No, nobody is working on MIDI output. We welcome contributions to
this.
Harder stuff is interpreting the purely textual annotations. For
example, `poco rall', `molto rit.', `a tempo', 'Tempo I', 'estinto',
'sotto voce', or (some of my favourites, from a piece by Messaien)
`perdu', or `comme oiseaux'.
It'd be possible to translate some of these into metronome markings or
\ or similar; others, I have no idea about.
Non-notated repeats are also going to be hard (`dal segno al coda',
`dal segno al fine')
The above points are possibly with a macro: instead of simply
moltorit = \markup{ \italics molto rit }
create something like
moltorit = ... scheme that prints out molto rit, and tweaks
whatever options you want for your new midi code...
I'm not certain that it's worth going to quite this much trouble
-- adding articulations will likely take a few weeks. But it's
definitely *possible* to do this kind of thing with lilypond
input.
Cheers,
- Graham
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Re: Better Midi, anyone?
Graham Percival skrev:
moltorit = ... scheme that prints out molto rit, and tweaks
whatever options you want for your new midi code...
That won't work.
If I read the rules of the artemis context correctly, the solution must
work for any lilypond file.
I assume that the organizers are using some sort of simplified
lilypond-structure to represent music, so that e.g. rall. always will
be entered the same way - e.g. with -rall. and not \markup{\italics
rall.}.
Probably there is also some way of identifying different voices, etc.
But the rules do not really specify any of this, afaics.
I really do not understand why they choose full-blown .ly as the format
for this competition.
-Rune
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Re: Better Midi, anyone?
Graham == Graham Percival [EMAIL PROTECTED] writes:
Graham The above points are possibly with a macro: instead of simply
Graham moltorit = \markup{ \italics molto rit }
The point is that for the Artemis competition we have to start with
unmodified Lilypond input. So we have to recognise, say
c'^rit. or c'^rall etc., and convert to \tempo 4=60 or
whatever.
I think I can do that.
The hard dynamics one is that at present to notate a smooth
crescendo/decrescendo on a single note you have to do something like:
{ c'1 } \\
{s16\pp \ s4. \! s16 \ff \s16 \ s4. \! s16 \pp }
because there's no appropriate language construct.
That creates a new voice, and attaches the dynamics to it instead
of to the note. To produce good midi output, you need to change this
to something like,
{ c16 \pp \ ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 \! ~ c16 \ff ~ c16 \
~ c16 ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 \! ~ c16 \pp }
and even that doesn't give as smooth a transition as one would like.
Any ideas?
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
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Re: Better Midi, anyone?
On Tue, 11 Mar 2008 03:07:17 +0100 Rune Zedeler [EMAIL PROTECTED] wrote: Graham Percival skrev: moltorit = ... scheme that prints out molto rit, and tweaks whatever options you want for your new midi code... That won't work. If I read the rules of the artemis context correctly, the solution must work for any lilypond file. Well, I thought the original poster was offering to improve lilypond's midi export. So this _would_ work on any lilypond file... after a certain version number. :) Note that I haven't read the rules, so I may be way off here. And they probably specify a version (or they should, at least). Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better Midi, anyone?
On Tue, 11 Mar 2008 13:08:05 +1100
Peter Chubb [EMAIL PROTECTED] wrote:
Graham == Graham Percival [EMAIL PROTECTED] writes:
Graham The above points are possibly with a macro: instead of simply
Graham moltorit = \markup{ \italics molto rit }
The point is that for the Artemis competition we have to start with
unmodified Lilypond input. So we have to recognise, say
c'^rit. or c'^rall etc., and convert to \tempo 4=60 or
whatever.
Oh. Ooooh. Yikes. Including all English / Italian / French /
German / etc variations of slow down?!
Hmm. I was thinking of something completely different here. I
agree with Rune; I don't know why they chose lilypond for this
contest -- or at the very least, why they didn't specify a subset
of normal lilypond code.
Sorry, I can't help with this.
Cheers,
- Graham
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font selection problem
Hi, I attempted to use CHinese words in my music, but my computer only has ttc files for Chinese fonts. I downloaded simsun.ttf yesterday, but after pasted it to c:\windows\fonts folder, Lilypond still considered the ttc one when I override font-name to simsun. The ttc one is undeletable, and I daren't to use unlocker assistant to force it to be deleted. Then I rename the simsun.ttf to simsun2.ttf, then select it using Lilypond, it didn't recognize it and use the Ms-gothic.ttc. I then renamed it back and change font-name to simsun.ttf, but Lilypond still use gothic.ttc. How can I do? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Coloring ornaments
Hello: I am trying to color ornaments based on which of the composer or editors suggested them. Setting a variable for each color and articulation seems like it should be almost the same as for a simple NoteHead. Since the articulation is a property of the note, the override should be a simple extension of the ones in the manual. So far my best guess based on what I've found in the manual and the list archives is this: % articulation-type (string) color = \override NoteHead.articulation-type mordent = #darkred Lilypond complains about the -type and also complains about -mordent, so that is not right, but I do not know where to go from here. Help on this would be appreciated, Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
