Automatic beaming
Hello,
I sent this mail yesterday with the graphics attached, but it did not
appear in the mailing list. I resend it with an link to the graphic at a
web server. Hope this passes the moderation.
I write a piece with where are a lot of triplets in one variation. It
looks nice to have the beaming in the same length as the triplets as it
is done in the hand writing original.
I found in the manual (1.2.4 Beams) that I can manually set beaming. But
since the piece has a regulare structure (almost only triples), I wanted
to use automatic beaming. Unfortunately I did get i working. I attach
the samples in one file (tuplet.ly) with some samples. The handwritten
original score is placed here: http://dj1na.gmxhome.de/pg-0009.JPG
Sample:1 got from the manual works, shows the use of beatGrouping.
Sample:2 I modified it using beatLength, shows that automatic beaming
works with triplets.
Sample:3 This is an excerpt of the real score, but using manual
beaming. The object is to setup automatic beaming, that it produces the
same output.
Sample:4 My Playground, where no combination of beatLength and
beatGrouping gave any acceptible result.
Can you tell we, what must I do to fix this?
Best Regards,
Helge
\version 2.11.63
\include deutsch.ly
% sample:1
% from snippet repository, two explicit voices, works fine
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\set Staff.beatGrouping = #'(2 3 2)
a8 a a a a a a
}
}
\new Voice {
\relative c' {
\voiceTwo
\set Voice.beatGrouping = #'(1 3 3)
f8 f f f f f f
}
}
% \layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% sample:2
% based on snippet repository shows beatGrouping with triplets, works fine
% but give unexpected behavior, when the \time is changed to 4/8 or 2/4
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\voiceTwo
\set Staff.beatLength = #(ly:make-moment 1 8)
\times 2/3 { a16 a a } \times 2/3 { a a a }
}
}
% \layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% sample:3
% real score, manual beaming, works
% but this requires manual beaming for all measures
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as[ b] }
\times 2/3 { ces[ b as] }
\times 2/3 { s as[ b] }
\times 2/3 { ces[ b as] }
}
}
\layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% real score, automatic beaming, does NOT work
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
%\set Staff.beatLength = #(ly:make-moment 1 8)
%\set Staff.beatGrouping = #'(2 2 2 2 2 2 2 2 )
\set Staff.beatGrouping = #'(8 8 8 8)
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as b }
\times 2/3 { ces b as }
\times 2/3 { s as b }
\times 2/3 { ces b as }
}
}
\layout { \context { \Staff \consists Measure_grouping_engraver } }
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
This looks like a syntactic nightmare. You are suggesting c4 c 4 - c4 c4 c4 i.e. making white space syntactically significant. Honestly, this would be OK with me. How many users are aware that `c 4' is the same as `c4' (I wasn't, BTW)? Is this ever documented? Do we have a single example which makes use of this syntactic possibility? Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
On Sun, Apr 05, 2009 at 08:42:43AM +0200, Werner LEMBERG wrote:
This looks like a syntactic nightmare. You are suggesting
c4 c 4 - c4 c4 c4
i.e. making white space syntactically significant.
Honestly, this would be OK with me. How many users are aware that
`c 4' is the same as `c4' (I wasn't, BTW)? Is this ever documented?
Do we have a single example which makes use of this syntactic
possibility?
I wasn't aware of this possibility, but spaces *are* useful for
clarity:
c4--.( \tweak #'slur-style #'foo \(\cr \tweak #'extra-offset #(3 . 1)
-\markup{ blah }
I'd hate to do this kind of thing without spaces. I mean...
c4--.(\tweak #'slur-style #'foo \(\cr\tweak #'extra-offset #(3 . 1)-\markup{
blah }
I'm not certain if this would even compile.
I guess we could say a whitespace followed by a pitch or duration
signals the beginning of a new note.
Cheers,
- Graham
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic beaming
Helge Kruse wrote Sunday, April 05, 2009 7:22 AM I write a piece with where are a lot of triplets in one variation. It looks nice to have the beaming in the same length as the triplets as it is done in the hand writing original. I found in the manual (1.2.4 Beams) that I can manually set beaming. But since the piece has a regulare structure (almost only triples), I wanted to use automatic beaming. Unfortunately I did get i working. I attach the samples in one file (tuplet.ly) with some samples. The handwritten original score is placed here: http://dj1na.gmxhome.de/pg-0009.JPG Sample:1 got from the manual works, shows the use of beatGrouping. Sample:2 I modified it using beatLength, shows that automatic beaming works with triplets. Sample:3 This is an excerpt of the real score, but using manual beaming. The object is to setup automatic beaming, that it produces the same output. Sample:4 My Playground, where no combination of beatLength and beatGrouping gave any acceptible result. Can you tell we, what must I do to fix this? Setting beatLength to 1/8 will work fine, but you must revert all the beam-ending rules for that time signature and beam duration which are set in auto-beam.scm, otherwise setting beatLength will not work. There is no need to use beatGrouping here. In your example the required revert command is #(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff) This can be reverted in Voice, Staff or Score contexts. If you use 32nd beams there are also two more rules to revert. You can read about this in section 1.2.4 in the Notation Reference under Setting sutomatic beam behaviour. Best Regards, Helge Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Combining autochange and normal notation
Hello,
I have a variation of a piece, where the first lines are played single
voice over two staves and the other lines are normal upper/lower staves.
To avoid a lot of silent rests I want to use the \autochange in the
PianoStaff for the first lines and append the other in the same score.
At first I have a problem, to setup the environment for the \autochange
as described in 2.2.1 (Common notation for keyboards/Changing staff
automatically). Instead of settng the low staff key I get an additional
one. Why do I get it and how it's done correct?
Second I want to combine both parts. I tried it as show in the third
score. This doesnt compile. Therefore I have commented it out. Can you
show me, how to write both, normal notation and \autochange in one
score? I would prefer to use the musical expression definitions used in
\score since these are in \included files.
Thanks,
Helge
\version 2.11.63
%
% \autochange requires to write all in one line
%
changingStaff = {
\autochange \relative c {
\clef treble \key as \minor \time 2/4
as32 ces es as ces es as ces as,,32 ces es as ces es as ces |
g,,32 b des fes g b des fes g b des fes g b des fes |
}
}
%
% for horizontal notation define the staves seperately
%
up = \relative c' {
\clef treble \key as \minor \time 2/4
r32 es g ces es ces g es r es g ces es ces g es
}
low = \relative c {
\clef bass \key as \minor \time 2/4
ces es ges ces4 r |
}
\book {
% part 1 using autochange
\score {
\new PianoStaff
\new Staff = up {
\new Voice = melOne {
\changingStaff
}
}
\new Staff = down {
\key as \minor \clef bass
}
}
% part 2 normal piano notation
\score {
\context PianoStaff
\new Staff = upper \up
\new Staff = lower \low
\layout {
}
}
% poth parts in one score
\score {
\new PianoStaff
\new Staff = up {
\new Voice = melOne {
\changingStaff
}
}
\new Staff = down {
\key as \minor \clef bass
}
\new PianoStaff
\new Staff = upper \up
\new Staff = lower \low
}
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic beaming
Trevor Daniels wrote:
Helge Kruse wrote Sunday, April 05, 2009 7:22 AM
I write a piece with where are a lot of triplets in one variation. It
looks nice to have the beaming in the same length as the triplets as it
is done in the hand writing original.
I found in the manual (1.2.4 Beams) that I can manually set beaming. But
since the piece has a regulare structure (almost only triples), I wanted
to use automatic beaming. Unfortunately I did get i working. I attach
the samples in one file (tuplet.ly) with some samples. The handwritten
original score is placed here: http://dj1na.gmxhome.de/pg-0009.JPG
Sample:1 got from the manual works, shows the use of beatGrouping.
Sample:2 I modified it using beatLength, shows that automatic beaming
works with triplets.
Sample:3 This is an excerpt of the real score, but using manual
beaming. The object is to setup automatic beaming, that it produces the
same output.
Sample:4 My Playground, where no combination of beatLength and
beatGrouping gave any acceptible result.
Can you tell we, what must I do to fix this?
Setting beatLength to 1/8 will work fine, but you
must revert all the beam-ending rules for that time
signature and beam duration which are set in auto-beam.scm,
otherwise setting beatLength will not work. There
is no need to use beatGrouping here.
In your example the required revert command is
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
This can be reverted in Voice, Staff or Score contexts.
If you use 32nd beams there are also two more rules
to revert.
You can read about this in section 1.2.4 in the Notation
Reference under Setting sutomatic beam behaviour.
Best Regards,
Helge
Trevor
Trevor,
thanks for reply. I added the line you mentioned -- it didnt show any
change. So I added these lines
#(set-time-signature 2 4 '(1 1))
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
assuming I have a 2/4 measure. This gives an NULL pointer exception in
lilypond.exe at address 0x00762a59 accessing memory at address
0x000d. I can use these settings:
#(set-time-signature 8 16 '(2 2 2 2))
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
But this changes the display time signature, what is not wanted. I
attached a sample that can be compiled with lilypond as it is. Could you
change the last score in the file to give an appropriate result, please?
Thanks,
Helge
\version 2.11.63
\include deutsch.ly
% sample:1
% from snippet repository, two explicit voices, works fine
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\set Staff.beatGrouping = #'(2 3 2)
a8 a a a a a a
}
}
\new Voice {
\relative c' {
\voiceTwo
\set Voice.beatGrouping = #'(1 3 3)
f8 f f f f f f
}
}
% \layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% sample:2
% based on snippet repository shows beatGrouping with triplets, works fine
% but give unexpected behavior, when the \time is changed to 4/8 or 2/4
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\voiceTwo
\set Staff.beatLength = #(ly:make-moment 1 8)
\times 2/3 { a16 a a } \times 2/3 { a a a }
}
}
% \layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% sample:3
% real score, manual beaming, works
% but this requires manual beaming for all measures
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as[ b] }
\times 2/3 { ces[ b as] }
\times 2/3 { s as[ b] }
\times 2/3 { ces[ b as] }
}
}
\layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% real score, automatic beaming, does NOT work
\score {
\relative c'' {
\clef treble \key as \minor
%\set Staff.beatLength = #(ly:make-moment 1 8)
%\set Staff.beatGrouping = #'(2 2 2 2 2 2 2 2 )
%\set Staff.beatGrouping = #'(8 8 8 8)
% causes exception
%#(set-time-signature 1 4 '(1 1))
% cases wrong time signature
#(set-time-signature 8 16 '(2 2 2 2))
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as b }
\times 2/3 { ces b as }
\times 2/3 { s as b }
\times 2/3 { ces b as }
}
}
\layout { \context { \Staff \consists Measure_grouping_engraver } }
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic beaming
Helge
This works with 2.11.65:
% real score, automatic beaming, does NOT work
% Works with added revert -td
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
%\set Staff.beatGrouping = #'(2 2 2 2 2 2 2 2 )
%\set Staff.beatGrouping = #'(8 8 8 8)
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as b }
\times 2/3 { ces b as }
\times 2/3 { s as b }
\times 2/3 { ces b as }
}
}
\layout { \context { \Staff \consists
Measure_grouping_engraver } }
}
Trevor
- Original Message -
From: Helge Kruse helge.kruse-nos...@gmx.net
To: Trevor Daniels t.dani...@treda.co.uk
Cc: lilypond-user@gnu.org
Sent: Sunday, April 05, 2009 9:10 AM
Subject: Re: Automatic beaming
Trevor Daniels wrote:
Helge Kruse wrote Sunday, April 05, 2009 7:22 AM
I write a piece with where are a lot of triplets in one
variation. It
looks nice to have the beaming in the same length as the
triplets as it
is done in the hand writing original.
I found in the manual (1.2.4 Beams) that I can manually set
beaming. But
since the piece has a regulare structure (almost only triples),
I wanted
to use automatic beaming. Unfortunately I did get i working. I
attach
the samples in one file (tuplet.ly) with some samples. The
handwritten
original score is placed here:
http://dj1na.gmxhome.de/pg-0009.JPG
Sample:1 got from the manual works, shows the use of
beatGrouping.
Sample:2 I modified it using beatLength, shows that automatic
beaming
works with triplets.
Sample:3 This is an excerpt of the real score, but using
manual
beaming. The object is to setup automatic beaming, that it
produces the
same output.
Sample:4 My Playground, where no combination of beatLength and
beatGrouping gave any acceptible result.
Can you tell we, what must I do to fix this?
Setting beatLength to 1/8 will work fine, but you
must revert all the beam-ending rules for that time
signature and beam duration which are set in auto-beam.scm,
otherwise setting beatLength will not work. There
is no need to use beatGrouping here.
In your example the required revert command is
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
This can be reverted in Voice, Staff or Score contexts.
If you use 32nd beams there are also two more rules
to revert.
You can read about this in section 1.2.4 in the Notation
Reference under Setting sutomatic beam behaviour.
Best Regards,
Helge
Trevor
Trevor,
thanks for reply. I added the line you mentioned -- it didnt show
any
change. So I added these lines
#(set-time-signature 2 4 '(1 1))
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
assuming I have a 2/4 measure. This gives an NULL pointer
exception in
lilypond.exe at address 0x00762a59 accessing memory at address
0x000d. I can use these settings:
#(set-time-signature 8 16 '(2 2 2 2))
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
But this changes the display time signature, what is not wanted. I
attached a sample that can be compiled with lilypond as it is.
Could you
change the last score in the file to give an appropriate result,
please?
Thanks,
Helge
\version 2.11.63
\include deutsch.ly
% sample:1
% from snippet repository, two explicit voices, works fine
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\set Staff.beatGrouping = #'(2 3 2)
a8 a a a a a a
}
}
\new Voice {
\relative c' {
\voiceTwo
\set Voice.beatGrouping = #'(1 3 3)
f8 f f f f f f
}
}
% \layout { \context { \Staff \consists
Measure_grouping_engraver } }
}
% sample:2
% based on snippet repository shows beatGrouping with triplets,
works fine
% but give unexpected behavior, when the \time is changed to 4/8
or 2/4
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\voiceTwo
\set Staff.beatLength = #(ly:make-moment 1 8)
\times 2/3 { a16 a a } \times 2/3 { a a a }
}
}
% \layout { \context { \Staff \consists
Measure_grouping_engraver } }
}
% sample:3
% real score, manual beaming, works
% but this requires manual beaming for all measures
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as[ b] }
\times 2/3 { ces[ b as] }
\times 2/3 { s as[ b] }
\times 2/3 { ces[ b as] }
}
}
\layout { \context { \Staff \consists
Measure_grouping_engraver } }
}
% real score, automatic beaming, does NOT work
\score {
\relative c'' {
\clef treble \key as \minor
%\set Staff.beatLength = #(ly:make-moment 1 8)
%\set Staff.beatGrouping = #'(2 2 2 2 2 2 2 2 )
%\set Staff.beatGrouping = #'(8 8 8 8)
% causes exception
%#(set-time-signature 1 4 '(1 1))
% cases wrong time signature
#(set-time-signature 8 16 '(2 2 2 2))
Re: LilyPond, Finale and Sibelius
2009/4/5 Werner LEMBERG w...@gnu.org: Honestly, this would be OK with me. How many users are aware that `c 4' is the same as `c4' (I wasn't, BTW)? Is this ever documented? Do we have a single example which makes use of this syntactic possibility? Not that I know of (I wasn't aware either that you could do that...) Another solution would be to say that numbers-only entry is only possible after having used an explicite duration: e.g. c4 4 4 - c4 c4 c4 but c4 c 4 - c4 c4 This way we wouldn't break any existing code (but good luck for documenting that...) PS: besides, what's with you guys and this c4 obsession; have you been playing terrorist video games lately or what? :-) Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
On Sun, Apr 05, 2009 at 12:27:36PM +0200, Werner LEMBERG wrote: PS: besides, what's with you guys and this c4 obsession; have you been playing terrorist video games lately or what? :-) Interesting. I've no idea what you are talking about, but I conclude that you like to play terrorist video games. Based on all the spy novels I read, I think I recall that C4 is a type of plastic explosion. I think it's specialized for blowing up locks/doors ? Clearly Valentin *has* been playing too much counterstrike, though. Tsk, tsk. I mean, it's not like there isn't a mountain of stuff he *could* be doing for lilypond. Now I'm off to watch a TV showing of Mission Impossible 3 while I write a conference paper. I'm actually motivated by music, though -- I keep on hearing the theme music for mission impossible being quoted in various places, but (until now) I've never seen any of the movies. Or TV shows. Whichever they are. I'll probably learn more about C4, though. :) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
Hi all, How many users are aware that `c 4' is the same as `c4' I am -- I use whitespace quite consciously/critically. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
How many users are aware that `c 4' is the same as `c4' I am -- I use whitespace quite consciously/critically. Congrats :-) Do you actually use `c 4'? Or would you object to such a syntax change? Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
Werner (et al.) Do you actually use `c 4'? I don't use that exact construct. Or would you object to such a syntax change? Only if it (adversely) affected the flexibility of whitespace elsewhere -- for example, g~ versus g ~ g( versus g ( etc. If the parser is smart enough to isolate the duration-whitespace from anythingelse-whitespace, then it won't affect my (current) code. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
Or would you object to such a syntax change? Only if it (adversely) affected the flexibility of whitespace elsewhere -- for example, g~ versus g ~ g( versus g ( etc. I use `g ~' also If the parser is smart enough to isolate the duration-whitespace from anythingelse-whitespace, then it won't affect my (current) code. AFAIK, there must not be any other expression between a note name (or chord) and a rhythm specification, so I don't see problems. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic beaming
Thanks,
this doesnt work with lilypond 2.11.63 at all. The beams dont end at the
triplet boundaries. I try to update to a newer version
Yep, 2.11.65 fixed this behavior. Still trying versions 2.13.0-0
does it too.
Many thanks,
Helge
Trevor Daniels wrote:
Helge
This works with 2.11.65:
% real score, automatic beaming, does NOT work
% Works with added revert -td
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
%\set Staff.beatGrouping = #'(2 2 2 2 2 2 2 2 )
%\set Staff.beatGrouping = #'(8 8 8 8)
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as b }
\times 2/3 { ces b as }
\times 2/3 { s as b }
\times 2/3 { ces b as }
}
}
\layout { \context { \Staff \consists Measure_grouping_engraver } }
}
Trevor
- Original Message - From: Helge Kruse
helge.kruse-nos...@gmx.net
To: Trevor Daniels t.dani...@treda.co.uk
Cc: lilypond-user@gnu.org
Sent: Sunday, April 05, 2009 9:10 AM
Subject: Re: Automatic beaming
Trevor Daniels wrote:
Helge Kruse wrote Sunday, April 05, 2009 7:22 AM
I write a piece with where are a lot of triplets in one variation. It
looks nice to have the beaming in the same length as the triplets as it
is done in the hand writing original.
I found in the manual (1.2.4 Beams) that I can manually set beaming.
But
since the piece has a regulare structure (almost only triples), I
wanted
to use automatic beaming. Unfortunately I did get i working. I attach
the samples in one file (tuplet.ly) with some samples. The handwritten
original score is placed here: http://dj1na.gmxhome.de/pg-0009.JPG
Sample:1 got from the manual works, shows the use of beatGrouping.
Sample:2 I modified it using beatLength, shows that automatic beaming
works with triplets.
Sample:3 This is an excerpt of the real score, but using manual
beaming. The object is to setup automatic beaming, that it produces the
same output.
Sample:4 My Playground, where no combination of beatLength and
beatGrouping gave any acceptible result.
Can you tell we, what must I do to fix this?
Setting beatLength to 1/8 will work fine, but you
must revert all the beam-ending rules for that time
signature and beam duration which are set in auto-beam.scm,
otherwise setting beatLength will not work. There
is no need to use beatGrouping here.
In your example the required revert command is
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
This can be reverted in Voice, Staff or Score contexts.
If you use 32nd beams there are also two more rules
to revert.
You can read about this in section 1.2.4 in the Notation
Reference under Setting sutomatic beam behaviour.
Best Regards,
Helge
Trevor
Trevor,
thanks for reply. I added the line you mentioned -- it didnt show any
change. So I added these lines
#(set-time-signature 2 4 '(1 1))
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
assuming I have a 2/4 measure. This gives an NULL pointer exception in
lilypond.exe at address 0x00762a59 accessing memory at address
0x000d. I can use these settings:
#(set-time-signature 8 16 '(2 2 2 2))
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
But this changes the display time signature, what is not wanted. I
attached a sample that can be compiled with lilypond as it is. Could you
change the last score in the file to give an appropriate result, please?
Thanks,
Helge
\version 2.11.63
\include deutsch.ly
% sample:1
% from snippet repository, two explicit voices, works fine
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\set Staff.beatGrouping = #'(2 3 2)
a8 a a a a a a
}
}
\new Voice {
\relative c' {
\voiceTwo
\set Voice.beatGrouping = #'(1 3 3)
f8 f f f f f f
}
}
% \layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% sample:2
% based on snippet repository shows beatGrouping with triplets, works
fine
% but give unexpected behavior, when the \time is changed to 4/8 or 2/4
\score {
\new Staff
\time 7/8
\new Voice {
\relative c'' {
\voiceTwo
\set Staff.beatLength = #(ly:make-moment 1 8)
\times 2/3 { a16 a a } \times 2/3 { a a a }
}
}
% \layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% sample:3
% real score, manual beaming, works
% but this requires manual beaming for all measures
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
{ r8 ces r ces }
\\
{ \times 2/3 { r16 as[ b] }
\times 2/3 { ces[ b as] }
\times 2/3 { s as[ b] }
\times 2/3 { ces[ b as] }
}
}
\layout { \context { \Staff \consists Measure_grouping_engraver } }
}
% real score, automatic beaming, does NOT work
\score {
\relative c'' {
\clef treble \key as \minor
%\set Staff.beatLength = #(ly:make-moment 1 8)
%
Quarter-tone notation with arrows
Hello all, One of the delights to see in the News for 2.12 was the new material on quarter-tone and other microtonal notation. However, I have one problem... The standard Lilypond quarter-tone notation uses pitches -is and -es (sharp and flat), -ih and -eh (quarter-tone sharp and flat) and -isih and -eseh (three-quarter sharp and flat). This is fine with the standard quarter-tone accidentals but arrow notation allows for more flexibility: you can have -iseh (sharp, a quarter down) or esih (flat, a quarter sharp), and these are not necessarily the same as -ih or -eh, just as D-flat is not necessarily the same as C-sharp. Anyway, from looking at the Makam example it's apparent how to define arbitrary pitch names to associate with given microtonal alterations; it would be easy to define -iseh and -esih. What I don't understand is the glyph definition, which appears to associate a given alteration uniquely with a given accidental. So, for example, a pitch alteration of -1/4 can apparently only be associated with one accidental even though theoretically it could be represented by _either_ a natural sign with a down-arrow or a flat sign with an up-arrow. The 'if' statements from makam.ly don't give any clue because as far as I can tell they relate to a predefined static term (in this case, an option as to whether the EKSIK-IKI AND -UC flats should have a slash). I guess I could cheat by making e.g. -eh -24/100 and -esih -26/100, which would give a working solution, but is there a way of getting what I want (a full set of quarter-tone arrow accidentals) without such recourse? Thanks best wishes, -- Joe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
2009/4/5 Werner LEMBERG w...@gnu.org: This looks very artificial... Yes it does; however, it's the only non-breaking way I can see (besides using a new symbol such as ). Granted, it is far-fetched. c4 c 2 seems probably more natural (to me) than c4 c 2 or even c4 4 2 however, the cool part of the latter is the ability to have c4 ~ 2. (which is definitely awesome when you have to enter ties). Interesting. I've no idea what you are talking about, but I conclude that you like to play terrorist video games. This must be the post-composing phase where the strangest things can happen :-) Oh yes. I've been waiting for four years to be able to play video games and watch TV shows, so there's definitely some kind of a need here :-) Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Avoiding slur collision with other voice
Hello, with help by Trevor I got forward a lot with my scores. Currently I still have a little issue with slurs. The original score, that I want to mimic, has slurs _above_ the noteheads: http://dj1na.gmxhome.de/pg-0009.JPG Lilypond puts the slurs below the beams per default. This can be confusing with the triplet indication (see attached slur.ly, measure two, first two triplets). So I want to place them above the notedheads like it's done in the original source. I am uncertain if these slurs are legato slurs or phrasing slurs. I tried them both and did not found an important difference, probably I am too unexperienced ;-) Should I use () or \(\) ? Independent of the kind of slurs I get collisions between the slurs and the stems of the other voice. (see attached slur.ly, measure one) There are two pages only with such triplets, so I think it's hard to do this per slur manually. Can I tell lilypond to avoid these collisions with other voice? Regards, Helge ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Avoiding slur collision with other voice
Forgotten sample file attached...
Helge
Helge Kruse wrote:
Hello,
with help by Trevor I got forward a lot with my scores. Currently I
still have a little issue with slurs. The original score, that I want to
mimic, has slurs _above_ the noteheads: http://dj1na.gmxhome.de/pg-0009.JPG
Lilypond puts the slurs below the beams per default. This can be
confusing with the triplet indication (see attached slur.ly, measure
two, first two triplets). So I want to place them above the notedheads
like it's done in the original source.
I am uncertain if these slurs are legato slurs or phrasing slurs. I
tried them both and did not found an important difference, probably I am
too unexperienced ;-) Should I use () or \(\) ?
Independent of the kind of slurs I get collisions between the slurs and
the stems of the other voice. (see attached slur.ly, measure one) There
are two pages only with such triplets, so I think it's hard to do this
per slur manually.
Can I tell lilypond to avoid these collisions with other voice?
Regards,
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
{ s8 ces r ces }
\\
{
\slurUp
\phrasingSlurUp
\times 2/3 { r16 as\( b\) }
\times 2/3 { ces( b as) }
\times 2/3 { r as( b) }
\times 2/3 { ces( b as) }
}
|
{ s8 des[ es des] } \\
{ \times 2/3 { r16( b ces) }
\times 2/3 { des( ces b) }
\times 2/3 { es( des ces) }
\times 2/3 { des( ces b) }
} |
}
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Avoiding slur collision with other voice
To get the output by the sample, I would conceptualise this slightly
differently. First, there's no need to keep on writing \times 2/3 {}
every time. Lilypond can make that easier for you. Secondly, since a)
in the orginal it's done this way and b) it's clear by the musical
pattern, I would get rid of the \times 2/3 {} altogether after the
first measure. Then, you don't have to worry about tuplet brackets
and slurs colliding.
#(ly:set-option 'point-and-click #f)
#(ly:set-option 'delete-intermediate-files #t)
\version 2.12.2
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
{ s8 ces r ces
s8 des[ es des] }
\\
{
\set tupletSpannerDuration = #
(ly:make-moment 1 8)
\times 2/3 { r16 as^( b) ces( b as)
r as^( b) ces( b as) }
r16*2/3 b( ces) des( ces b) es( des
ces) des( ces b)
}
}
}
Am 05.04.2009 um 14:47 schrieb Helge Kruse:
Forgotten sample file attached...
Helge
Helge Kruse wrote:
Hello,
with help by Trevor I got forward a lot with my scores. Currently
I still have a little issue with slurs. The original score, that I
want to mimic, has slurs _above_ the noteheads: http://
dj1na.gmxhome.de/pg-0009.JPG
Lilypond puts the slurs below the beams per default. This can be
confusing with the triplet indication (see attached slur.ly,
measure two, first two triplets). So I want to place them above
the notedheads like it's done in the original source.
I am uncertain if these slurs are legato slurs or phrasing slurs.
I tried them both and did not found an important difference,
probably I am too unexperienced ;-) Should I use () or \(\) ?
Independent of the kind of slurs I get collisions between the
slurs and the stems of the other voice. (see attached slur.ly,
measure one) There are two pages only with such triplets, so I
think it's hard to do this per slur manually.
Can I tell lilypond to avoid these collisions with other voice?
Regards,
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
{ s8 ces r ces }
\\
{
\slurUp
\phrasingSlurUp
\times 2/3 { r16 as\( b\) }
\times 2/3 { ces( b as) }
\times 2/3 { r as( b) }
\times 2/3 { ces( b as) }
}
|
{ s8 des[ es des] } \\
{ \times 2/3 { r16( b ces) }
\times 2/3 { des( ces b) }
\times 2/3 { es( des ces) }
\times 2/3 { des( ces b) }
} |
}
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
James E. Bailey
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Avoiding slur collision with other voice
Helge
The 'slurs' in the hand-written score look as if they are
really triplet indicators, with the '3' omitted from the
later ones. If so, I don't think Lily can do this very well
automatically. The closest I can get is to make the tuplet
brackets transparent and use slurs, as shown below. The
positions of the slurs can be controlled, but this would
require manually tweaking each one.
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
{ s8 ces r ces }
\\
{
\slurUp
\tupletUp
\override TupletBracket #'transparent = ##t
\override TupletBracket #'staff-padding = #'()
\override TupletBracket #'avoid-slur = #'inside
\times 2/3 { r16( as b) }
\times 2/3 { ces( b as) }
\times 2/3 { r( as b) }
\times 2/3 { ces( b as) }
}
|
{ s8 des[ es des] } \\
{
\slurUp
\override TupletNumber #'stencil = ##f
\times 2/3 { r16( b ces) }
\times 2/3 { des( ces b) }
\times 2/3 { es( des ces) }
\times 2/3 { des( ces b) }
} |
}
}
Trevor
- Original Message -
From: Helge Kruse helge.kruse-nos...@gmx.net
To: lilypond-user@gnu.org
Sent: Sunday, April 05, 2009 1:47 PM
Subject: Re: Avoiding slur collision with other voice
Forgotten sample file attached...
Helge
Helge Kruse wrote:
Hello,
with help by Trevor I got forward a lot with my scores. Currently
I
still have a little issue with slurs. The original score, that I
want to
mimic, has slurs _above_ the noteheads:
http://dj1na.gmxhome.de/pg-0009.JPG
Lilypond puts the slurs below the beams per default. This can be
confusing with the triplet indication (see attached slur.ly,
measure
two, first two triplets). So I want to place them above the
notedheads
like it's done in the original source.
I am uncertain if these slurs are legato slurs or phrasing slurs.
I
tried them both and did not found an important difference,
probably I am
too unexperienced ;-) Should I use () or \(\) ?
Independent of the kind of slurs I get collisions between the
slurs and
the stems of the other voice. (see attached slur.ly, measure one)
There
are two pages only with such triplets, so I think it's hard to do
this
per slur manually.
Can I tell lilypond to avoid these collisions with other voice?
Regards,
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
{ s8 ces r ces }
\\
{
\slurUp
\phrasingSlurUp
\times 2/3 { r16 as\( b\) }
\times 2/3 { ces( b as) }
\times 2/3 { r as( b) }
\times 2/3 { ces( b as) }
}
|
{ s8 des[ es des] } \\
{ \times 2/3 { r16( b ces) }
\times 2/3 { des( ces b) }
\times 2/3 { es( des ces) }
\times 2/3 { des( ces b) }
} |
}
}
___
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
Automatically adding lyric extenders
Hi all, does anybody know a way to get LilyPond to automatically draw extender lines after the last syllable of each word, if the melisma reaches a specified minimal length? Such a behaviour would save large time in entering some kinds of music. Cheers, Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to get a single notation of clifs, keys, or others?
Dear all,
I'm writing a extension for Sphinx, with which I can write music learning notes.
I need to show those clifs, keys, notes, and so on with out staff and other
things.
My solution is using
\new Staff \with {
\remove Staff_symbol_engraver
\remove Time_signature_engraver
\remove Stem_engraver
\remove Clef_engraver
\remove Key_engraver
\remove Metronome_mark_engraver
}
but I can only show music notes with it.
Another pitfall is there will be a large white border left in the resulting PNG.
I tried the method provided in lilypond user document 14.11 Inserting LilyPond
output into other programs. The method works if staff presented, but not if no
staff presented. Is there any other method?
Hope I described my question clear. Any suggestion is appreciated.
Best wishes,
Wei-Wei
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Quarter-tone notation with arrows
On 5 Apr 2009, at 14:20, Joseph Wakeling wrote: One of the delights to see in the News for 2.12 was the new material on quarter-tone and other microtonal notation. However, I have one problem... Perhaps Graham Breed can help - I cc him. Hans ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
chordname vertical spacing
I would like to have chord names nearer to the staff... How can I do that ? thank you for your help, François ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Quarter-tone notation with arrows
- Original Message - From: Joseph Wakeling joseph.wakel...@webdrake.net Date: Sunday, April 5, 2009 5:21 am Subject: Quarter-tone notation with arrows To: lilypond-user@gnu.org Hello all, One of the delights to see in the News for 2.12 was the new material on quarter-tone and other microtonal notation. However, I have one problem... The standard Lilypond quarter-tone notation uses pitches -is and -es (sharp and flat), -ih and -eh (quarter-tone sharp and flat) and -isih and -eseh (three-quarter sharp and flat). This is fine with the standard quarter-tone accidentals but arrow notation allows for more flexibility: you can have -iseh (sharp, a quarter down) or esih (flat, a quarter sharp), and these are not necessarily the same as -ih or -eh, just as D-flat is not necessarily the same as C-sharp. Anyway, from looking at the Makam example it's apparent how to define arbitrary pitch names to associate with given microtonal alterations; it would be easy to define -iseh and -esih. What I don't understand is the glyph definition, which appears to associate a given alteration uniquelywith a given accidental. So, for example, a pitch alteration of -1/4 can apparently only be associated with one accidental even though theoretically it could be represented by _either_ a natural sign with a down-arrow or a flat sign with an up-arrow. The 'if' statements from makam.ly don't give any clue because as far as I can tell they relate to a predefined static term (in this case, an option as to whether the EKSIK-IKI AND -UC flats should have a slash). I guess I could cheat by making e.g. -eh -24/100 and -esih -26/100, which would give a working solution, but is there a way of getting what I want (a full set of quarter-tone arrow accidentals) without such recourse? A given alteration results in one specific glyph. Of course a -1/4 flat can be presented by numerous glyphs, anything you like, really, but you'll have to decide which one is the default and if you want another symbol at some point in the score (I can't imagine why you would want that) you'll have to override the glyph. Kees ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
Valentin Villenave wrote: Another solution would be to say that numbers-only entry is only possible after having used an explicite duration: e.g. c4 4 4 - c4 c4 c4 but c4 c 4 - c4 c4 This way we wouldn't break any existing code (but good luck for documenting that...) Ugly! Isn't this specific example a very good counter argument to introduce this feature (at least not without using a syntax like c4 4 4). /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get a single notation of clifs, keys, or others?
If you just want a clef, for example, and nothing else, the easiest is
to use a stand-alone markup command:
\markup{ \musicglyph #clefs.G }
For the white border, I seem to remember that some solutions have been
posted on the mailing list.
/Mats
Wei-Wei Guo wrote:
Dear all,
I'm writing a extension for Sphinx, with which I can write music
learning notes.
I need to show those clifs, keys, notes, and so on with out staff and
other things.
My solution is using
\new Staff \with {
\remove Staff_symbol_engraver
\remove Time_signature_engraver
\remove Stem_engraver
\remove Clef_engraver
\remove Key_engraver
\remove Metronome_mark_engraver
}
but I can only show music notes with it.
Another pitfall is there will be a large white border left in the
resulting PNG.
I tried the method provided in lilypond user document 14.11 Inserting
LilyPond
output into other programs. The method works if staff presented, but
not if no
staff presented. Is there any other method?
Hope I described my question clear. Any suggestion is appreciated.
Best wishes,
Wei-Wei
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
--
=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
=
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get a single notation of clifs, keys, or others?
On 4/5/09 10:01 AM, Wei-Wei Guo wwgu...@gmail.com wrote:
Dear all,
I'm writing a extension for Sphinx, with which I can write music learning
notes.
I need to show those clifs, keys, notes, and so on with out staff and other
things.
I'm not sure exactly what you want to show. You say without staff and
other things. What other things do you want to eliminate?
My solution is using
\new Staff \with {
\remove Staff_symbol_engraver
\remove Time_signature_engraver
\remove Stem_engraver
\remove Clef_engraver
\remove Key_engraver
\remove Metronome_mark_engraver
}
but I can only show music notes with it.
If you want to have clefs, you certainly shouldn't remove the Clef_engraver.
And if you want to have key signatures, you shouldn't remove the
Key_engraver.
Another pitfall is there will be a large white border left in the resulting
PNG.
I tried the method provided in lilypond user document 14.11 Inserting
LilyPond
output into other programs. The method works if staff presented, but not if
no
staff presented. Is there any other method?
Which version of LilyPond are you using? I couldn't find a section 14.11 in
any of the current documentation.
Thanks,
Carl
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
TimeSignature with white border?
Hi all, Is there a way to have the TimeSignature stencil output with a thin white border? That way, you could stack Slur, TimeSignature, and StaffSymbol grobs, and the Slur would look like it disappeared behind the TimeSignature. Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
From: Kieren MacMillan Is there a way to have the TimeSignature stencil output with a thin white border? That way, you could stack Slur, TimeSignature, and StaffSymbol grobs, and the Slur would look like it disappeared behind the TimeSignature. Will using markup suffice? \version 2.13.0 \markup \combine \musicglyph #clefs.G \whiteout \pad-markup #0.75 \musicglyph #accidentals.sharp \markup \combine \musicglyph #clefs.G \whiteout \pad-around #0.75 \musicglyph #accidentals.sharp \markup \combine \musicglyph #clefs.G \whiteout \pad-to-box #'(0 . 2) #'(-2 . 2) \musicglyph #accidentals.sharp - Mark attachment: white-border.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default midi velocity
On Sun, Apr 05, 2009 at 10:37:08PM +0200, Martin Tarenskeen wrote: Just some thoughts about MIDI. Now let's make beautiful scores again using Lilypond. If you want a default velocity of 90 instead of 127: patch attached. Ooops. I forgot to attach my patch. -- Martin Tarenskeen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default midi velocity
Carl D. Sorensen wrote: Yes, it's probably a good idea. In scm/midi.scm, there is the following: ;; 90 == 90/127 == 0.71 is supposed to be the default value ;; urg: we should set this at start of track (define-public dynamic-default-volume 0.71) As far as I can see, this setting isn't used anywhere in the source code. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default midi velocity
( My mail client is doing strange things ... this is another attempt to
send my message to the mailing list )
On Sat, Apr 04, 2009 at 08:05:17PM -0600, Carl D. Sorensen wrote:
Anybody willing to take this on as a patch? It shouldn't be too
hard, but I imagine it'll take some time grepping through the
source files.
If we agree that it's just a case of changing the default velocity,
then this is ideally suited to a Frog; on the other hand, it would be
great to be able to set the default volume in a \midi block, but that
looks much more complicated.
I agree.
But the specific request was to have the default value be mf, which I
think
should be a not-too-difficult task.
I patched my copy of lilypond and now have a default velocity of 90
instead of 127 (patch attached). I like this better.
But I also discovered things are a bit more complicated. In MIDI there
are 2 totally different ways to control dynamics:
1. Midi Control Change #7 ( Volume control )
2. Note On Velocity
Option 1 is used by lilypond to translate \pp \mf \cresendo etcetera.
Option 2 is set to 127 by default.
If I record playing my digital piano in a midi sequencer my dynamics are
written in midi velocity values. This sounds different than using
Control Change messages. I can explain this: If I hit the keys harder,
not only the volume changes but also the brightness of the tone. This is
accomplished using different sample layers and/or filters in a digital
piano to mimic the sound of a real piano. This effect is re-produced
using the Velocity values in the MIDI information.
A Midi Volume Control Change can be compared to turning the volume knob
or using the sliders on a mixing console: The volume changes, but
without the effect of the changing color of the sound.
That is why dynamics that are written in a MIDI file produced directly
by lilypond don't sound as natural and realistic as is possible using
MIDI. Imagine recording a piano player who plays everything ff, and the
recording engineer takes care of the dynamics using the sliders of the
mixing console. Not quite the real thing ;-)
Just some thoughts about MIDI.
Now let's make beautiful scores again using Lilypond.
If you want a default velocity of 90 instead of 127: patch attached.
--
Martin Tarenskeen
diff -ur lilypond-2.13.0.orig/lily/midi-item.cc lilypond-2.13.0/lily/midi-item.cc
--- lilypond-2.13.0.orig/lily/midi-item.cc 2009-04-05 21:11:25.0 +0200
+++ lilypond-2.13.0/lily/midi-item.cc 2009-04-05 21:17:43.0 +0200
@@ -169,7 +169,8 @@
Midi_note::Midi_note (Audio_note *a)
{
audio_ = a;
- dynamic_byte_ = 0x7f;
+ dynamic_byte_ = 0x5a;
+ // dynamic_byte_ = 0x7f;
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
On Sun, Apr 5, 2009 at 8:23 AM, Werner LEMBERG w...@gnu.org wrote: How many users are aware that `c 4' is the same as `c4' I am -- I use whitespace quite consciously/critically. Congrats :-) Do you actually use `c 4'? Or would you object to such a syntax change? as long as I have anything to do with LilyPond, I will veto changes like this that introduce inconsistent whitespace handling in the syntax. Please come up with something different. I think the idea to use (for example) as a place holder is much more sane. -- Han-Wen Nienhuys - han...@xs4all.nl - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Quarter-tone notation with arrows
Kees van den Doel wrote: A given alteration results in one specific glyph. :-( Of course a -1/4 flat can be presented by numerous glyphs, anything you like, really, but you'll have to decide which one is the default and if you want another symbol at some point in the score (I can't imagine why you would want that) you'll have to override the glyph. Well, why I _want_ it is for much the same reason as why, if you want the note that is one semitone in-between C and D, sometimes you want it to be a C sharp and sometimes a D flat... :-) Another reason could be that if your quarter-tones are _approximate_ rather than precise, it can be helpful to know which of the 12 standard notes you are bending. Graham Breed wrote me a nice note suggesting defining some kind of override or tweak to redefine the symbol on the fly, but considering it I think I'll probably go with 'cheaty' definitions of pitch alterations, like +/- 101/400 (or 1001/4000 or whatever seems most appropriate:-) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
as long as I have anything to do with LilyPond, I will veto changes like this that introduce inconsistent whitespace handling in the syntax. Please come up with something different. I think the idea to use (for example) as a place holder is much more sane. OK. Then I vote for a letter like `q' as a repeater for chords. `' is a bit cumbersome to type. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
Hi Mark, Will using markup suffice? I've been doing something similar... However, I'd like an automated way of outlining any #'stencil -- maybe it's a task I can accomplish as a Frog? Cheers, Kieren. \version 2.13.0 \markup \combine \musicglyph #clefs.G \whiteout \pad-markup #0.75 \musicglyph #accidentals.sharp \markup \combine \musicglyph #clefs.G \whiteout \pad-around #0.75 \musicglyph #accidentals.sharp \markup \combine \musicglyph #clefs.G \whiteout \pad-to-box #'(0 . 2) #'(-2 . 2) \musicglyph #accidentals.sharp - Mark white-border.png ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default midi velocity
On 4/5/09 2:42 PM, Mats Bengtsson mats.bengts...@ee.kth.se wrote: Carl D. Sorensen wrote: Yes, it's probably a good idea. In scm/midi.scm, there is the following: ;; 90 == 90/127 == 0.71 is supposed to be the default value ;; urg: we should set this at start of track (define-public dynamic-default-volume 0.71) As far as I can see, this setting isn't used anywhere in the source code. /Mats That's what I assumed the urg was for. dynamic-default-volume is set but never used. Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
2009/4/5 Han-Wen Nienhuys hanw...@gmail.com: Please come up with something different. I think the idea to use (for example) as a place holder is much more sane. As I suggested, if we forbid such standalone durations after anything else than an explicit duration, it would not break anything wrt whitespaces. -- But I agree that this is not quite sane. 2009/4/5 Werner LEMBERG w...@gnu.org: OK. Then I vote for a letter like `q' as a repeater for chords. `' is a bit cumbersome to type. Well, the advantage of a non-letter char is that it's less easy to confuse it with a note... That being said, we already have `r', meaning rest and `s' meaning skip... But what does `q' mean? :-) Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Concert Pitch (a second try)
Hi all, O.K here goes, I've pruned some bits out where we were getting into acoustics, and tweaked a few bits. Cheer Ian Hulin Anthony W. Youngman wrote: 1.64 Concert pitch The convention (standardised by ISO 16) states that A above middle C represents the note at 440 Hertz. This is commonly notated by the statement A=440. There are many other conventions, such as diapason normal which was established by French law as A=435. Many of these conventions have fallen into disuse, although there are orchestras which typically tune to other pitches (usually pitching A slightly higher in order to sound brighter). Regardless of the exact frequency of A, instruments which play the standard frequency upon reading the note A are typically referred to as playing in concert pitch or in C. Instruments which sound a different note than that written are referred to as transposing instruments. These are typically brass or woodwind instruments. For most instruments, the standard pitch and transposing conventions produce the same result on the actual printed music, and the instrument is considered to be in C, for example concert flute, bassoon, C Clarinet, C Horn. Some other instruments are in C, use the reference concert reference pitch of A=440, but still transpose as far as their written music in concerned: examples are piccolo and descant recorder, transposing up an octave, and classical guitar and choral tenor parts which transpose down an octave. See also: transposing intruments and wikipedia entry for concert pitch. 1.311 transposing instruments Instruments where the written note is not the note that the instrument is intended to sound, according to standard pitch. The reason for this is to make it easy for players to switch between instruments of the same family that have different fundamental pitches, as the player can still use the same fingerings whatever size instrument is being played. Transposing instruments are named according to the fundamental (known on some brass instruments as the pedal) note. On a woodwind instrument this is normally the note obtained with all holes covered without over-blowing or use of speaker keys. On a brass instrument it the note obtained with most relaxed embouchure and the slide extended fully or all valves open. Individual instruments vary this principle by having extensions at bottom end of the instrument, but a simple case like the tenor recorder shows the basic principle. To make matters more complex, some instruments are transposing instruments, but their players actually play from parts written at concert pitch. Orchestral trombone and tuba players do this, while trombone players in brass bands treat their parts as if written for a true transposing instrument in Bb. When writing music for a transposing instrument, it is normal to refer to the instrument by its fundamental, e.g Bb Trumpet, A clarinet. Music for these instruments without a key signature (e.g. notated in C major) is assumed to be in Bb or A. If an instrument (e.g. flute) is normally notated in treble clef, then either the instrument's fundamental or the transposition should be mentioned if it is not in standard pitch (alto flute in G, G flute). If the instrument is in C, the instrument's fundamental should NOT be mentioned, and it should be notated as in C only if required to avoid confusion. The main reason for this convention is that, for all instruments in the same family, they share the same fingerings for any given written note, and players are easily able to switch between the various family members. Some examples of transposing instruments: piccolo (sounds octave higher than written) alto flute (sounds fourth lower than written) bass flute (sounds an octave lower than written) cor anglais (sounds fifth lower than written) clarinet in Bb (sounds tone lower than written) clarinet in A (sounds a minor third lower than written) bass clarinet (sounds a ninth lower than written) contrabassoon (sounds octave lower than written) all saxophones French Horn in F (sounding a fifth lower than written) trumpet in Bb (sounds tone lower than written) trumpet in A (sounds a minor third lower than written) trombone - brass bands only - in Bb (sounds tone lower than written) string contrabass (sounds an octave lower than written) -- Can anybody come up with any improvements on this? Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
From: Kieren MacMillan
However, I'd like an automated way of outlining any #'stencil --
maybe it's a task I can accomplish as a Frog?
Kieren,
Here's something to fiddle with.
Just a start, but you could develop
it more if you're interested.
Hope it helps
- Mark
\version 2.13.0
#(define (whiteout-clef-stil grob)
(let* ((pad 1)
(this-stil (ly:clef::print grob))
(stil-x-ext (ly:stencil-extent this-stil 0))
(stil-y-ext (ly:stencil-extent this-stil 1))
(stil-w (- (cdr stil-x-ext) (car stil-x-ext)))
(stil-h (- (cdr stil-y-ext) (car stil-y-ext)))
(box-x-ext (cons (- (car stil-x-ext) pad)
(+ (cdr stil-x-ext) pad)))
(box-y-ext (cons (- (car stil-y-ext) pad)
(+ (cdr stil-y-ext) pad)))
(box-w (- (cdr box-x-ext) (car box-x-ext)))
(box-h (- (cdr box-y-ext) (car box-y-ext)))
)
(ly:grob-set-property! grob 'stencil
(ly:stencil-add
(ly:make-stencil
(list 'embedded-ps
(ly:format
(string-append gsave\n
currentpoint translate\n
1 setgray\n
~a ~a ~a ~a rectfill\n
grestore\n)
(car box-x-ext)
(car box-y-ext)
box-w
box-h))
stil-x-ext
stil-y-ext)
this-stil
whiteoutClef = {
\override Slur #'layer = #-2
\override Staff.Clef #'layer = #-1
\override Staff.Clef #'stencil = #whiteout-clef-stil
}
normalClef = {
\revert Slur #'layer
\revert Staff.Clef #'layer
\revert Staff.Clef #'stencil
}
{
\whiteoutClef
\once \override Slur #'extra-offset = #'(0 . -2)
\clef bass f,1^( \clef treble a'1)
}
attachment: white-border-clef.png___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Quarter-tone notation with arrows
- Original Message - From: Joseph Wakeling joseph.wakel...@webdrake.net Date: Sunday, April 5, 2009 2:41 pm Subject: Re: Quarter-tone notation with arrows To: Kees van den Doel kvand...@shaw.ca Cc: lilypond-user@gnu.org Kees van den Doel wrote: A given alteration results in one specific glyph. :-( Of course a -1/4 flat can be presented by numerous glyphs, anything you like, really, but you'll have to decide which one is the default and if you want another symbol at some point in the score (I can't imagine why you would want that) you'll have to override the glyph. Well, why I _want_ it is for much the same reason as why, if you want the note that is one semitone in-between C and D, sometimes you want it to be a C sharp and sometimes a D flat... :-) Another reason could be that if your quarter-tones are _approximate_ rather than precise, it can be helpful to know which of the 12 standardnotes you are bending. Unfortunately Western notation doesn't work like that. Accidentals (microtonal or not) operate on the 7 diatonic pitches, not on 12 semitones. I think you think the arrow somehow alters already altered notes (like Bb), but the alteration operates on the diatonic notes, so there can be no difference between natural-quarterflat and flat-quartersharp, but C# and Db are distinct. Graham Breed wrote me a nice note suggesting defining some kind of override or tweak to redefine the symbol on the fly, but considering it I think I'll probably go with 'cheaty' definitions of pitch alterations,like +/- 101/400 (or 1001/4000 or whatever seems most appropriate:-) I think that works so well and easy that there is no reason to have anything better :-) Kees ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get a single notation of clifs, keys, or others?
Hi Mats,
If you just want a clef, for example, and nothing else, the easiest is to use
a stand-alone markup command:
\markup{ \musicglyph #clefs.G }
Stand-alone markup is right what I need. The \markup command works for me.
I have a further question. Is there a list of musicglyph? I still don't know
how to get, for example, a tie, a slur, or a short piece of pure staff.
For the white border, I seem to remember that some solutions have been posted
on the mailing list.
I have searched in the mailing list and get this post
http://lists.gnu.org/archive/html/lilypond-user/2008-06/msg00440.html
I have tried those methods mentioned. The method in Lilypond user document
doesn't work. mogrify in ImageMagick works but since I'm writing a extension
for Sphinx, I hope there is a primitive method provided by Lilypond.
Thanks for your help!
Best wishes,
Wei-Wei
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get a single notation of clifs, keys, or others?
Hi Carl, Mats has answered my first question. Thanks for your reply. Which version of LilyPond are you using? I couldn't find a section 14.11 in any of the current documentation. I'm using version 2.12.1. I only find section 14.11 in user document of version 2.10. Here is the link: http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Inserting-LilyPond-output-into-other-programs For a PNG file, the command in the link should be changed to: lilypond -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts --png myfile.ly Best wishes, Wei-Wei ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: including scheme files?
#(load myfile.scm) HTH, Carl On 4/5/09 5:19 PM, Mark Polesky markpole...@yahoo.com wrote: How do I include a scheme file from within a .ly file? I see the source uses (define-module) and (use-modules). I looked at the guile docs, but I couldn't figure it out. Thanks - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
On 4/5/09 4:59 PM, Valentin Villenave v.villen...@gmail.com wrote: 2009/4/5 Han-Wen Nienhuys hanw...@gmail.com: Please come up with something different. I think the idea to use (for example) as a place holder is much more sane. As I suggested, if we forbid such standalone durations after anything else than an explicit duration, it would not break anything wrt whitespaces. -- But I agree that this is not quite sane. 2009/4/5 Werner LEMBERG w...@gnu.org: OK. Then I vote for a letter like `q' as a repeater for chords. `' is a bit cumbersome to type. Well, the advantage of a non-letter char is that it's less easy to confuse it with a note... That being said, we already have `r', meaning rest and `s' meaning skip... But what does `q' mean? :-) I guess it could mean quote -- as in quote the previous object. I like the idea of having it be a key that doesn't need to be shifted, or at least isn't likely to be in some awkward place on some language's keyboard. I think that the following unshifted characters are available: q, w, t, y, u, i, o, p (although \p is used for dynamics), j, k, l, z, x, v, n, m (although \mf and \mp are used for dynamics). = would have the right meaning, but then we'd have two different uses for a naked = character, so I don't think it is a good idea. None of these characters jump out at me as being optimal. I think is somewhat mnemonic. I think legibility should trump ease of typing, so I guess I come down in favor of , at least from the choices I've imagined so far. Of course, I still don't have any idea who is going to implement this, even if we do agree on syntax. Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius
On Sun, Apr 5, 2009 at 2:43 PM, Werner LEMBERG w...@gnu.org wrote: as long as I have anything to do with LilyPond, I will veto changes like this that introduce inconsistent whitespace handling in the syntax. Please come up with something different. I think the idea to use (for example) as a place holder is much more sane. OK. Then I vote for a letter like `q' as a repeater for chords. `' is a bit cumbersome to type. Hehe, ok, forget the no character idea. I would prefer the solution to this have minimal impact on older scores and I guess this wouldn't work. I think I would also prefer an alphabetic character also. Note and rest names only include these characters already so for consistency's sake this new 'repeat note' should also. Also after thinking about it a bit '' and similar characters would make some scores look even more like line noise: c e g4 2-\f 4 c e g4 q2-\f q4 The 'q' version to my eyes is a bit easier to read. My only concern about using a letter as opposed to a non-alphabetic character is the note names in other languages. I don't see a 'q' used in any note name in the supported languages, but perhaps it's a constraint to think about. -Jay ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Quarter-tone notation with arrows
Joseph Wakeling wrote: Another reason could be that if your quarter-tones are _approximate_ rather than precise, it can be helpful to know which of the 12 standard notes you are bending. If there's some intuitive reason for choosing different logical equivalents, perhaps that should be reflected in different pitch alterations anyway. Graham Breed wrote me a nice note suggesting defining some kind of override or tweak to redefine the symbol on the fly, but considering it I think I'll probably go with 'cheaty' definitions of pitch alterations, like +/- 101/400 (or 1001/4000 or whatever seems most appropriate:-) Yes, sorry that went privately. I forgot the shift-ctrl to reply. The idea is you can only have one set of quartertone symbols at a time, but you can use a \tweak or \override to switch between sets. I have proof of concept examples for pure/mixed Sagittal. The cheating looks fine until you want to do transpositions. Transposing C up-a-quartertone up by the same quartertone won't give C sharp, for example. If you think it should that's an indication you're treating quartertones equally, of course. Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Concert Pitch (a second try)
Ian Hulin wrote: Hi all, O.K here goes, I've pruned some bits out where we were getting into acoustics, and tweaked a few bits. Cheer Ian Hulin (snip) Transposing instruments are named according to the fundamental (known on some brass instruments as the pedal) note. On a woodwind instrument this is normally the note obtained with all holes covered without over-blowing or use of speaker keys. On a brass instrument it the note obtained with most relaxed embouchure and the slide extended fully That should be not extended at all for trombone (1st position). or all valves open. True. For woodwinds this description is not at all practical partly for the extension reason you mentioned below. Not counting the B foot on a flute or the low A on many baritone saxes the only woodwind I know of that has a C for its full length is the flute. Saxes and oboes start at Bb. Clarinets in their lower register (no over-blowing or speaker key) start at written E or Eb. A better might be a certain equivalent seven finger on each of these instruments except for bassoon which could be considered an F instrument (similar to an F recorder). Individual instruments vary this principle by having extensions at bottom end of the instrument, but a simple case like the tenor recorder shows the basic principle. I agree that C recorder is an excellent place to start but most of the normal woodwinds have more notes at the bottom than a C recorder. I would suggest leaving the fingerings or the physics out of this with the possible exception of the seven finger C mentioned above but even that is probably too complicated. To make matters more complex, some instruments are transposing instruments, but their players actually play from parts written at concert pitch. Orchestral trombone and tuba players do this, while trombone players in brass bands treat their parts as if written for a true transposing instrument in Bb. There are also orchestral bass clarinet parts written in bass clef so that the transposition is a second rather than a ninth. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
