Re: Feta font modifications by Janek
On 09/06/2013 06:54 AM, David Kastrup wrote: Werner LEMBERG w...@gnu.org writes: Alas, I found one: http://www.fontfabrik.com/lucfuse.html FUSE 11 has pornography as theme. My contribution to this issue is a MultipleMaster font. [...] Five characters are converted to small FREE PORNO MOVIES. New versions use antialiasing and gif compression. Actually, this is one of the most brilliant uses of this technology :-) I would have never dreamt of such a usage. Uh, you have seen what happened to the Internet? The 98% of the Internet traffic not wiretapped by the NSA is porn. And some of the remaining 2% as well. That gives an entirely new meaning to typophile... ;-) Too bad that you can't download this font somewhere... Didn't Alexander name this as the only free MM font he was able to find? Sounds like free just means it's not sold for money here. I could not find a download link either, and even if I had one I'm not sure how to use a MM font. But it's not the only one: English wikipedia on Multiple Master fonts mentions 8 free ones, which probably is a massive understatement: One of the developers (Graham Maede) lists a ninth one (ChizzMM) on his website (again, I couldn't find links for any of them). On http://apostrophiclab.pedroreina.net/, you can actually download a few of them. Some more or less random site http://www.slade.de/dmt/types/formate/multiplemaster.html (in German) claims that roughly 50 MM fonts exist in the wild, including commercial ones. And I'm not all that surprised, when I imagine the amount of sweat and tears that has to go into a MM font to look nice in at least /some/ choice of parameters. Best, Alexander ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottava collision with bar line
2013/9/5 David Bellows davebell...@gmail.com
Hello all,
Hi David
I'd like to learn how to fix this anyway by nudging
the 8va symbol over.
Here's 2 options :
\language english
upper = { a'4 a' a' a' a' a' a' a' a' a' a' a'}
lower ={ cs''1
\ottava #1
%% here's what you're looking for
\once\override Staff.OttavaBracket.extra-offset = #'(2 . 0)
a'' cs''' g'''
\ottava #0
\ottava #1
% here's how I would do
\set Staff.ottavation = \markup\whiteout\concat { 8 \super\tiny va }
a'' cs''' g'''
\ottava #0
}
\score {
\new PianoStaff
\new Staff=upper \upper
\new Staff=lower \lower
}
Cheers,
Pierre
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Re: merging notes
I revise my answer from yesterday: On 09/05/2013 11:48 PM, Peter Bjuhr wrote: 2, the e,2 in the second voice is hidden by the d8 in the third voice isn't that a bug ? (I think you mean the e8 in the third voice.) I don't think it is a bug, but it's contradictory to the text; as it says: [...] beat 1 in bar 2, where the automatic merging fails.. The merging appears fine! No, the merging in beat 1 bar 2 fails because the note should be white and not black. My mistake! The corrected version is shown further below with \shiftOn. I will try to find a solution to your actual problem now. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
I will try to find a solution to your actual problem now.
Now, I want to merge two same looking notes. It works well for the
c4 in the third beat, 1st measure, above.
\version 2.17.10
lcl = { \revert MultiMeasureRest #'staff-position }
ma = \relative c' { \lcl d1 | g2 g | R1\fermataMarkup }
mb = \relative c' { \lcl d1 | d2 d | R1\fermataMarkup }
\new Staff
\new Voice = Va { \voiceOne \ma }
\new Voice = Vb { \voiceTwo \mb }
I need to name the voices for a later \lyricsto,
I want the \voiceOne/Two so the stems comes out right.
How do you want the stems?
How do I make the first d1's merge ?
The problem here is that these are whole note's/semibreve's without
stems, and if they are merged how would you know that there are two voices!?
There are perhaps a technical solution to this but I leave that to the
experts. But this and your previous question hints at you wanting to use
some kind of part combining!?
How do I make the \fermataMarkup merge ?
For the fermata you could perhaps find a solution here:
http://lsr.dsi.unimi.it/LSR/Item?id=372
Best
Peter
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Re: Double slurs on automatic part combining
- Original Message -
From: David Rogers davidandrewrog...@gmail.com
To: Carl Peterson carlopeter...@gmail.com
Cc: David Kastrup d...@gnu.org; Mailinglist lilypond-user
lilypond-user@gnu.org
Sent: Friday, September 06, 2013 4:38 AM
Subject: Re: Double slurs on automatic part combining
Carl Peterson carlopeter...@gmail.com writes:
On Thu, Sep 5, 2013 at 9:44 PM, David Kastrup d...@gnu.org wrote:
Why would you use the part combiner? I know SATB as basically
\new ChoirStaff
\new Staff { \clef treble { \soprano } \\ { \alto } }
\new Staff { \clef bass { \tenor } \\ { \bass } }
That depends. Virtually without exception, every hymnal I have used in
church or have in my library uses joined stems except when there are
different melodies or the notes are separated by less than a diatonic
third (this has required some rewriting of the part combiner scheme
file to accommodate these style rules).
As another data point, the small cross-section of Canadian hymn books
easily available to me (ranging from the 1910s to the 1990s) mostly
agree with what Carl is seeing; the only hymn book I have that prints
everything (except obvious keyboard chords) with separate stems is the
one from before 1920, which was printed in movable type. All the others
merge the stems at all times, except for unisons, seconds, and anything
that would otherwise be ambiguous.
I have to my right hand Hymns and Modern, New Standard and behind me
Songs of Praise, New Standard. Both of these use separate voices for Sop
and Alto; Tenor and Bass. I strongly believe this is the best way of
setting 4 part voice - merging the notes into chords is just wrong, IMHO -
it can confuse which voice is singing which part. What happens when the
voices cross? FWIW Elaine Gould agrees with me: Ideally each voice takes
separate stems. This rule is only broken in her view where space is
limited.
--
Phil Holmes
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Re: can I set panning in midi
Vaughan McAlley: On 6 September 2013 08:50, Karl Hammar k...@aspodata.se wrote: ... For which purposes do You want to use midi? Producing exercise sound files for the choir, they basically wants mp3's or something similar. I have tried ogg but their systems kind of not understands that. I'd like to have e.g. basses at left, tenors mid left, altos mid right and sopranos at right, to make each voice easier to hear and follow. ... I wrote the attached script for exactly this purpose. It saves mucking around with anything more sophisticated than a simple MIDI player. The tracks are distributed evenly across the panning range. Unfortunately it requires Lua, but Lua is small and the last few times I’ve found it very easy to install. More detailed instructions are in the script... For some reason it produces a exact copy of the input file: $ lua -v Lua 5.2.1 Copyright (C) 1994-2012 Lua.org, PUC-Rio $ lua ~/panning.lua 2b_choer.midi zz.midi 2b_choer.midi zz.midi $ lsl 2b_choer.midi zz.midi -rw-r--r-- 1 karl users 2995 2013-09-05 21:39 2b_choer.midi -rw-r--r-- 1 karl users 2995 2013-09-06 08:58 zz.midi $ md5sum 2b_choer.midi zz.midi 203528cd285a0e7438886c9c893d6490 2b_choer.midi 203528cd285a0e7438886c9c893d6490 zz.midi $ Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
Peter Bjuhr:
On 09/05/2013 10:44 PM, Karl Hammar wrote:
http://www.lilypond.org/doc/v2.16/Documentation/notation/multiple-voices#collision-resolution
{
c8 d e d c d c4
g'2 fis
} \\ {
c2 c8. b16 c4
e,2 r
} \\ {
\oneVoice
s1
e8 a b c d2
}
1, why is the snippet shown without the surronding \relative c'',
it makes it confusing -- it starts in the wrong octave, doesn't it
If you click on the image you see the ly-file, and that in fact uses
surrounding \relative c''.
Yes, I know.
But it's assumed in the text.
Hmm, where is that assumption stated?
I can find below 1.1.3 Displaying pitches, Clef, 2nd sentence
(page 16 in my pdf):
Middle C is shown in every example.
Then on p.18, Selected Snippets, absolute entry is used
p.20 Key signature, the fis happens to be fis'' without any explanations
and the example just below works by simple copy-and-paste
This is simply non-obvious and confusing that in some examples one
cannot copy the visibly code and get the shown result.
2, the e,2 in the second voice is hidden by the d8 in the third voice
isn't that a bug ?
(I think you mean the e8 in the third voice.)
Yes, typo by me.
I don't think it is a bug,
In what way isn't it a bug when an e2 looks like an e4.
If I really wanted a half note to look like a quater note I'd use e4*2,
then it is obvious in the code that I do something unusual.
but it's contradictory to the text; as it says: [...] beat 1 in bar 2,
where the automatic merging fails.. The merging appears fine!
Yes, and
The half note and eighth note at the start of the second measure
are incorrectly merged because the automatic merge cannot
successfully complete the merge when three or more notes line up
in the same note column, and in this case the merged note head is
incorrect.
after the third example confirms that failing.
When writing ly-files, such failings would be very hard to spot.
Regards,
/Karl Hammar
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Re: can I set panning in midi
Luis Jure: ... i don't bother with jack or any audio output in rosegarden, i just use it for some basic editing of midi files, and then render with timidity. Ok. i just tried editing a midi file with several tracks, and inserting a control event (control 10) in each track was easy and it worked. you have to open the event editor for each track, and then insert event from the menu. it should just work... Ok, seems simple enough inserting control-event-10 at time 0 with values 0 42 84 and 127 export why doesn't theese modern toolkits respect current directory why cannot it handle dirs with utf8 chars in the name timidity -Oj -ik ~/zz.midi trying differnt values, cannot find something that spreads evenly, it's either right or left, and the process is very tedious... Sorry, I'm not up to speed on midi nor rosegarden... Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: can I set panning in midi
Colin Campell: On 13-09-05 04:50 PM, Karl Hammar wrote: Producing exercise sound files for the choir, they basically wants mp3's or something similar. I have tried ogg but their systems kind of not understands that. I'd like to have e.g. basses at left, tenors mid left, altos mid right and sopranos at right, to make each voice easier to hear and follow. Attached is a template I use for a Gospel quartet, Karl. It produces a master score, scores for each part with their voice isolated, and corresponding MIDI files, again with each voice set a bit louder than the other three. I can also use timidity to convert the MIDI files to .mp3 for those who need that format. That could be a way to proceed, I just wanted a *single* file to mitigate confusion and clutter. /// My results so far is in: http://turkos.aspodata.se/motett/c_saint_saens/ and git clone git://turkos.aspodata.se/musik.git I did the mp3 by makeing a sound file for each track timidity -OwM -o 2b_choer.b.wav --mute=1,2,3 2b_choer.midi ... importing the files into ardour, aligning, setting pan, export to wav makeing mp3 with lame 2b_choer.all.wav Well, kindof tedious but workable. Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double slurs on automatic part combining
David Kastrup:
...
I know SATB as basically
\new ChoirStaff
\new Staff { \clef treble { \soprano } \\ { \alto } }
\new Staff { \clef bass { \tenor } \\ { \bass } }
namely _without_ joining stems.
...
Not so fast,
\\ is a pain with vocal music, we want a explicit voice name for \lyricsto
And do we want to merge
r's
R's
\fermata and \fermataMarkup
same note with same duration i the two voices
dynamics
or not
Regards,
/Karl Hammar
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Re: can I set panning in midi
On Fri, 6 Sep 2013, Karl Hammar wrote: I did the mp3 by makeing a sound file for each track timidity -OwM -o 2b_choer.b.wav --mute=1,2,3 2b_choer.midi ... importing the files into ardour, aligning, setting pan, export to wav makeing mp3 with lame 2b_choer.all.wav Well, kindof tedious but workable. Some time ago I did something similar using Lilypond, Timidity, and Audacity when I had made an arrangement for 4 pianos. I set up my lilypond file(s) to be able to produce scores and midi files for the complete score AND for the separate parts. Then I used timidity to produce separate wav files for the 4 parts. I imported these wav files in Audacity. In Audacity I set the panning for each track and then export as new wav or mp3. -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottava collision with bar line
Hey Pierre,
\language english
upper = { a'4 a' a' a' a' a' a' a' a' a' a' a'}
lower ={ cs''1
\ottava #1
%% here's what you're looking for
\once\override Staff.OttavaBracket.extra-offset = #'(2 . 0)
a'' cs''' g'''
\ottava #0
\ottava #1
% here's how I would do
\set Staff.ottavation = \markup\whiteout\concat { 8 \super\tiny va }
a'' cs''' g'''
\ottava #0
}
\score {
\new PianoStaff
\new Staff=upper \upper
\new Staff=lower \lower
}
Your first option works nicely but the spanner part of the symbol
stretches too far. Now that I see the syntax of what I'm looking for I
will try to figure that one out but if you, or anyone else, knows the
solution to that I would be appreciative.
The second option still produced a collision for me just not nearly as
bad as in my original version. It also would require me to notate the
pitches an octave lower (and then raise them again in a MIDI editor to
get the sound I want).
Thanks again,
Dave Bellows
On Fri, Sep 6, 2013 at 2:25 AM, Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com wrote:
2013/9/5 David Bellows davebell...@gmail.com
Hello all,
Hi David
I'd like to learn how to fix this anyway by nudging
the 8va symbol over.
Here's 2 options :
\language english
upper = { a'4 a' a' a' a' a' a' a' a' a' a' a'}
lower ={ cs''1
\ottava #1
%% here's what you're looking for
\once\override Staff.OttavaBracket.extra-offset = #'(2 . 0)
a'' cs''' g'''
\ottava #0
\ottava #1
% here's how I would do
\set Staff.ottavation = \markup\whiteout\concat { 8 \super\tiny va }
a'' cs''' g'''
\ottava #0
}
\score {
\new PianoStaff
\new Staff=upper \upper
\new Staff=lower \lower
}
Cheers,
Pierre
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Re: merging notes
Peter Bjuhr:
I will try to find a solution to your actual problem now.
That's very kind of you, thanks.
Now, I want to merge two same looking notes. It works well for the
c4 in the third beat, 1st measure, above.
\version 2.17.10
lcl = { \revert MultiMeasureRest #'staff-position }
ma = \relative c' { \lcl d1 | g2 g | R1\fermataMarkup }
mb = \relative c' { \lcl d1 | d2 d | R1\fermataMarkup }
\new Staff
\new Voice = Va { \voiceOne \ma }
\new Voice = Vb { \voiceTwo \mb }
I need to name the voices for a later \lyricsto,
I want the \voiceOne/Two so the stems comes out right.
How do you want the stems?
Top voice with stems up, bottom voice with stems down as shown in
my example.
How do I make the first d1's merge ?
The problem here is that these are whole note's/semibreve's without
stems, and if they are merged how would you know that there are two voices!?
The same thing with rests, if only on rest, it applies both voices
if one rest and one note, seperate voices.
If only one whole note, both voices.
Two whole notes at same pitch just looks strange.
Have a look at:
http://turkos.aspodata.se/motett/c_saint_saens/4_air.pdf
There are perhaps a technical solution to this but I leave that to the
experts. But this and your previous question hints at you wanting to use
some kind of part combining!?
No, part combining makes voices to be combined into chords.
I could use it for the above, but if one of the voices are split,
then you don't know wich voice is split after part combiner.
How do I make the \fermataMarkup merge ?
For the fermata you could perhaps find a solution here:
http://lsr.dsi.unimi.it/LSR/Item?id=372
Thanks, that worked.
Regards,
/Karl Hammar
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Re: merging notes
Peter Bjuhr wrote No, the merging in beat 1 bar 2 fails because the note should be white and not black. My mistake! The corrected version is shown further below with \shiftOn. and if you're not happy with the shift you can correct it like \shiftOn \tweak NoteColumn.force-hshift #-.0001 g'2 fis Eluze -- View this message in context: http://lilypond.1069038.n5.nabble.com/merging-notes-tp150280p150322.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
On 09/06/2013 11:06 AM, Karl Hammar wrote: Yes, I know. But it's assumed in the text. Hmm, where is that assumption stated? This is simply non-obvious and confusing that in some examples one cannot copy the visibly code and get the shown result. Sorry if I stated the obvious! I interpreted your question wrongly. I don't know enough of the documentation system to defend it. Maybe someone else can answer this!? In what way isn't it a bug when an e2 looks like an e4. If I really wanted a half note to look like a quater note I'd use e4*2, then it is obvious in the code that I do something unusual. Yes, and The half note and eighth note at the start of the second measure are incorrectly merged because the automatic merge cannot successfully complete the merge when three or more notes line up in the same note column, and in this case the merged note head is incorrect. after the third example confirms that failing. When writing ly-files, such failings would be very hard to spot. I revised my answer now in the morning, hope you have seen it. An e2 shouldn't look like an e4, I agree! But I still don't think it is a bug. If you use /oneVoice in this way you have accept some additional fixing, which is also documented below. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottava collision with bar line
2013/9/6 David Bellows davebell...@gmail.com Your first option works nicely but the spanner part of the symbol stretches too far. Now that I see the syntax of what I'm looking for I will try to figure that one out but if you, or anyone else, knows the solution to that I would be appreciative. See : http://www.lilypond.org/doc/v2.16/Documentation/internals/ottavabracket Foe ex. \once\override Staff.OttavaBracket.extra-offset = #'(0.4 . 0) \once\override Staff.OttavaBracket.minimum-length = #0.1 Should work. It also would require me to notate the pitches an octave lower (and then raise them again in a MIDI editor to get the sound I want). Sorry David, I don't understand what you want to do there. Cheers Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottava collision with bar line
2013/9/6 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com See : http://www.lilypond.org/doc/v2.16/Documentation/internals/ottavabracket Oups, wrong link... : http://www.lilypond.org/doc/v2.17/Documentation/internals/ottavabracket ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
- Original Message -
From: Karl Hammar k...@aspodata.se
To: lilypond-user@gnu.org
Sent: Friday, September 06, 2013 10:06 AM
Subject: Re: merging notes
Peter Bjuhr:
On 09/05/2013 10:44 PM, Karl Hammar wrote:
http://www.lilypond.org/doc/v2.16/Documentation/notation/multiple-voices#collision-resolution
{
c8 d e d c d c4
g'2 fis
} \\ {
c2 c8. b16 c4
e,2 r
} \\ {
\oneVoice
s1
e8 a b c d2
}
1, why is the snippet shown without the surronding \relative c'',
it makes it confusing -- it starts in the wrong octave, doesn't it
If you click on the image you see the ly-file, and that in fact uses
surrounding \relative c''.
Yes, I know.
But it's assumed in the text.
Hmm, where is that assumption stated?
Section 1.4.1 of the Learning Manual. The documentation assumes users have
read the LM.
--
Phil Holmes
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Re: Double slurs on automatic part combining
On Fri, Sep 6, 2013 at 4:53 AM, Phil Holmes m...@philholmes.net wrote: I have to my right hand Hymns and Modern, New Standard and behind me Songs of Praise, New Standard. Both of these use separate voices for Sop and Alto; Tenor and Bass. I strongly believe this is the best way of setting 4 part voice - merging the notes into chords is just wrong, IMHO - it can confuse which voice is singing which part. What happens when the voices cross? FWIW Elaine Gould agrees with me: Ideally each voice takes separate stems. This rule is only broken in her view where space is limited. Ultimately, for what I'm doing, right or wrong is irrelevant. Much like those who are creating custom style sheets to match Henle or Breitkopf or even (cringe) Finale or Sibelius, it doesn't really matter what my sensibilities are or to large degree the way *I* think it ought to be...this is the way it is, and I decide how closely I want to match to it. The fact is that for my target audience, combined stems are the norm, which the noted exceptions of rhythmic differences, small intervals, or crossed voices (see below). I have made some decisions on some things that are not as universal in context. For instance, some hymnals I use point all stems away from the lyrics except when there are separated voices on the staff (and one has to face in each direction. I've decided against that change, for technical reasons as much as musical correctness. Some hymnals (the same ones) also do not beam flagged notes unless the notes are for the same syllable (in which case, the beam serves as the slur). I have adopted this change. Regarding the confusion, etc.: I can think of only one song in our standard repertoire when voices cross. Regardless, this is irrelevant as the default behavior of the part combiner to separate crossed voices is preserved. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double slurs on automatic part combining
Carl Peterson carlopeter...@gmail.com writes: Some hymnals (the same ones) also do not beam flagged notes unless the notes are for the same syllable (in which case, the beam serves as the slur). I have adopted this change. You'll find that switching autobeaming off will make lyric syllables synchronize to beaming. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Contolling Hairpin spans again
I would like to reduce the span of the hairpin in the third bar so that it does
not reach to the crotchet - is this possible?
I have searched the LSR (in a previous search for hairpin I did not notice that
there was a second page after the long blank space
on the first page).
\version 2.16.2
\relative c'' {
\clef treble
\time 3/4
r2 e4\pp-\tweak #'minimum-length #8.0 \ ~
e2\ e4-\tweak #'minimum-length #6.0 \ ~
e2\ e4\! | % this hairpin is too long
d2.
}
thanks
Peter Gentry
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Re: Double slurs on automatic part combining
On Fri, Sep 6, 2013 at 8:46 AM, David Kastrup d...@gnu.org wrote: Carl Peterson carlopeter...@gmail.com writes: Some hymnals (the same ones) also do not beam flagged notes unless the notes are for the same syllable (in which case, the beam serves as the slur). I have adopted this change. You'll find that switching autobeaming off will make lyric syllables synchronize to beaming. Yes. The template I'm using is actually fairly robust. I've moved as many of the tweaks and customizations (such as autobeaming and shaped notes) to the layout block as possible, even to the point of creating aliased contexts to allow for alternate lyrics and for hidden voices so that each part can be a \lyricsto target. At this point, it can probably handle setting at least 90% of our repertoire, assuming that lyrics and parts are defined correctly. For instance, soprano verse and soprano chorus are given different (hidden) voices. Since I always manually break the music into systems, the chorus always starts on a new line, so any spacing issues from this approach to lyrics are mitigated. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Contolling Hairpin spans again
Hi Peter,
I would like to reduce the span of the hairpin in the third bar so that it
does not reach to the crotchet - is this possible?
Here are two solutions:
\version 2.16.2
\paper { ragged-right = ##f }
\relative c'' {
\clef treble
\time 3/4
r2 e4\pp-\tweak #'minimum-length #8.0 \ ~
e2\ e4-\tweak #'minimum-length #6.0 \ ~
e2*1/2\ s4\! e4
d2.
}
\relative c'' {
\clef treble
\time 3/4
r2 e4\pp-\tweak #'minimum-length #8.0 \ ~
e2\ e4-\tweak #'minimum-length #6.0 \ ~
{ e2\! e4 } \new Voice { s4\ s4\! s4 }
d2.
}
The first may be a bit counterintuitive, and will mess up MIDI output, but is
easier to type.
The second is a little more intuitive, but the voice-juggling can get
frustrating, and it's harder to type (though a music function would reduce the
effort).
Hope this helps!
Kieren.
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Re: Ottava collision with bar line
\once\override Staff.OttavaBracket.extra-offset = #'(0.4 . 0) \once\override Staff.OttavaBracket.minimum-length = #0.1 Pierre, that works perfectly! And I can easily tweak it as needed. Thank you very much! Dave On Fri, Sep 6, 2013 at 6:52 AM, Pierre Perol-Schneider pierre.schneider.pa...@gmail.com wrote: 2013/9/6 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com See : http://www.lilypond.org/doc/v2.16/Documentation/internals/ottavabracket Oups, wrong link... : http://www.lilypond.org/doc/v2.17/Documentation/internals/ottavabracket ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: can I set panning in midi
On 6 September 2013 19:06, Karl Hammar k...@aspodata.se wrote: Vaughan McAlley: On 6 September 2013 08:50, Karl Hammar k...@aspodata.se wrote: ... For which purposes do You want to use midi? Producing exercise sound files for the choir, they basically wants mp3's or something similar. I have tried ogg but their systems kind of not understands that. I'd like to have e.g. basses at left, tenors mid left, altos mid right and sopranos at right, to make each voice easier to hear and follow. ... I wrote the attached script for exactly this purpose. It saves mucking around with anything more sophisticated than a simple MIDI player. The tracks are distributed evenly across the panning range. Unfortunately it requires Lua, but Lua is small and the last few times I’ve found it very easy to install. More detailed instructions are in the script... For some reason it produces a exact copy of the input file: $ lua -v Lua 5.2.1 Copyright (C) 1994-2012 Lua.org, PUC-Rio $ lua ~/panning.lua 2b_choer.midi zz.midi 2b_choer.midi zz.midi $ lsl 2b_choer.midi zz.midi -rw-r--r-- 1 karl users 2995 2013-09-05 21:39 2b_choer.midi -rw-r--r-- 1 karl users 2995 2013-09-06 08:58 zz.midi $ md5sum 2b_choer.midi zz.midi 203528cd285a0e7438886c9c893d6490 2b_choer.midi 203528cd285a0e7438886c9c893d6490 zz.midi $ Regards, /Karl Hammar Oops, it looks like MIDI files produced by LilyPond 2.17 look a bit different to what 2.16 produced. This revised version of the script appears to work, and spat out the attached MIDI file... Cheers, Vaughan panning.lua Description: Binary data 2b_choer_panned.midi Description: MIDI audio ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Contolling Hairpin spans again
Thanks Kieren that does help a bit but I may have to live with the long
hairpin ascetic (does this qualify something that needs a
better Lilypond solution).
Midi is very useful to weed out missed accidentals and other errors and unless
the hairpins are in the same places in all staves
this would not be possible.
The only way I can see to handle this is to have a separate dynamics staff for
each part but this is a big pain in any sizable
score. It can be done if you start in NoteWorthy complete all the dynamics and
convert to Lilypond using Phil Holmes' excellent
NWCTXT2Ly.exe or possibly just use the blank dynamics staff to input hairpins
in Lilypond.
It's a bit messy however you do it.
-Original Message-
From: Kieren MacMillan [mailto:kieren_macmil...@sympatico.ca]
Sent: Friday, September 06, 2013 2:18 PM
To: Peter Gentry
Cc: lilypond-user@gnu.org
Subject: Re: Contolling Hairpin spans again
Hi Peter,
I would like to reduce the span of the hairpin in the third
bar so that it does not reach to the crotchet - is this possible?
Here are two solutions:
\version 2.16.2
\paper { ragged-right = ##f }
\relative c'' {
\clef treble
\time 3/4
r2 e4\pp-\tweak #'minimum-length #8.0 \ ~
e2\ e4-\tweak #'minimum-length #6.0 \ ~
e2*1/2\ s4\! e4
d2.
}
\relative c'' {
\clef treble
\time 3/4
r2 e4\pp-\tweak #'minimum-length #8.0 \ ~
e2\ e4-\tweak #'minimum-length #6.0 \ ~
{ e2\! e4 } \new Voice { s4\ s4\! s4 } d2.
}
The first may be a bit counterintuitive, and will mess up MIDI
output, but is easier to type.
The second is a little more intuitive, but the voice-juggling
can get frustrating, and it's harder to type (though a music
function would reduce the effort).
Hope this helps!
Kieren.=
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[no subject]
Hello to all. I quote from the file usage.pdf in the section about
lilypond-book:
Each snippet will call the Following macros if they have been defined by
the user:
\preLilyPondExample [...]
\postLilyPondExample [...]
\betweenLilyPondSystem [...]
»
A few pages after this point, there is a concrete example of use of the
\betweenLilyPondSystem command:
\newcommand {\betweenLilyPondSystem}[1]{\vspace{*length*}\linebreak}
This command inserts a vertical space equal to *length* between a system
of staves and the next one. And it works well in my document
I tried to use in the same way also the commands \pre- and
\postLilyPondSystem, but I did not see any results after compilation of my
document. What should these two commands exactly? Maybe insert space before
and after the example of music? How they must be used?
I'm writing a .tex document compiled with XeLaTeX tex in which use
lilypond-book for musical snippets. Before and after
\begin {lilypond[*options*]
...
\end {lilypond}
I use explicit spacing commands such as \smallskip, \medskip and \bigskip,
but I know that this is not the correct way. Looking at the name '
\preLilyPondExample' I thought that this command automatically put a space
before each lilypond environment. An alternative is to put in turn
lilypondenvironments inside a
center environmen:
\begin{center}
\begin{lilypond}[*options*]
...
\end{lilypond}
\end{center}
What would you do in this situation?
Here is my preamble (I work on Mac OS X 10.6.8):
% !TEX encoding = UTF-8 Unicode
% !TEX TS-program = LilyPond-Book
% !LILYPOND tex = xelatex
\documentclass[%
documentstructure=book,%
style=elements,%
captionstyle=italic,%
tocstyle=ragged,
crop=false%
]{suftesi}
% pacchetti specifici di xetex
\usepackage{ifxetex}
\ifxetex
\usepackage[T1]{fontenc}
\usepackage{fontspec}
\setmainfont[Ligatures=TeX,Numbers=OldStyle]{Garamond Premier Pro}
\setsansfont[Scale=MatchLowercase]{Iwona}
\usepackage{polyglossia}
\setmainlanguage{italian}
\setotherlanguages{english,french,german}
\usepackage{lilyglyphs}
\else
\fi
% pacchetti comuni a xetex e pdftex
\usepackage{graphicx}
\graphicspath{{immagini/}}
\captionsetup{font={rm,it,small},justification=centering}
\usepackage{subfig}
\usepackage[italian]{varioref}
\usepackage[output-decimal-marker={,},detect-all]{siunitx}
\usepackage[hidelinks]{hyperref}
% nuovi comandi
\newcommand{\bemolle}{\ifxetex\,\lilyGlyph[scale=1.3,raise=0.5]{accidentals.flat}\else\fi}
\newcommand{\diesis}{\ifxetex\,\lilyGlyph[scale=1.1,raise=0.6]{accidentals.sharp}\else\fi}
\newcommand{\naturale}{\ifxetex\,\lilyGlyph[scale=1.2,raise=0.6]{accidentals.natural}\else\fi}
\newcommand{\ditoi}[1]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}\else\fi}
\newcommand{\ditoii}[2]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}\else\fi}
\newcommand{\ditoiii}[3]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}-\lilyText[scale=1,raise=-0.05]{#3}\else\fi}
\newcommand{\betweenLilyPondSystem}[1]{\vspace{5mm}\linebreak}
% comincia il documento
\begin{document}
Ciao e grazie
Tommaso
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Automatically insert a space before and after a lilypond environment
Hello to all. I quote from the file usage.pdf in the section about
lilypond-book:
Each snippet will call the Following macros if they have been defined by
the user:
\preLilyPondExample [...]
\postLilyPondExample [...]
\betweenLilyPondSystem [...]
»
A few pages after this point, there is a concrete example of use of the
\betweenLilyPondSystem command:
\newcommand {\betweenLilyPondSystem}[1]{\vspace{*length*}\linebreak}
This command inserts a vertical space equal to *length* between a system
of staves and the next one. And it works well in my document
I tried to use in the same way also the commands \pre- and
\postLilyPondSystem, but I did not see any results after compilation of my
document. What should these two commands exactly? Maybe insert space before
and after the example of music? How they must be used?
I'm writing a .tex document compiled with XeLaTeX tex in which use
lilypond-book for musical snippets. Before and after
\begin {lilypond[*options*]
...
\end {lilypond}
I use explicit spacing commands such as \smallskip, \medskip and \bigskip,
but I know that this is not the correct way. Looking at the name '
\preLilyPondExample' I thought that this command automatically put a space
before each lilypond environment. An alternative is to put in turn
lilypond environments
inside a centerenvironmen:
\begin{center}
\begin{lilypond}[*options*]
...
\end{lilypond}
\end{center}
What would you do in this situation?
Here is my preamble (I work on Mac OS X 10.6.8):
% !TEX encoding = UTF-8 Unicode
% !TEX TS-program = LilyPond-Book
% !LILYPOND tex = xelatex
\documentclass[%
documentstructure=book,%
style=elements,%
captionstyle=italic,%
tocstyle=ragged,
crop=false%
]{suftesi}
% pacchetti specifici di xetex
\usepackage{ifxetex}
\ifxetex
\usepackage[T1]{fontenc}
\usepackage{fontspec}
\setmainfont[Ligatures=TeX,Numbers=OldStyle]{Garamond Premier Pro}
\setsansfont[Scale=MatchLowercase]{Iwona}
\usepackage{polyglossia}
\setmainlanguage{italian}
\setotherlanguages{english,french,german}
\usepackage{lilyglyphs}
\else
\fi
% pacchetti comuni a xetex e pdftex
\usepackage{graphicx}
\graphicspath{{immagini/}}
\captionsetup{font={rm,it,small},justification=centering}
\usepackage{subfig}
\usepackage[italian]{varioref}
\usepackage[output-decimal-marker={,},detect-all]{siunitx}
\usepackage[hidelinks]{hyperref}
% nuovi comandi
\newcommand{\bemolle}{\ifxetex\,\lilyGlyph[scale=1.3,raise=0.5]{accidentals.flat}\else\fi}
\newcommand{\diesis}{\ifxetex\,\lilyGlyph[scale=1.1,raise=0.6]{accidentals.sharp}\else\fi}
\newcommand{\naturale}{\ifxetex\,\lilyGlyph[scale=1.2,raise=0.6]{accidentals.natural}\else\fi}
\newcommand{\ditoi}[1]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}\else\fi}
\newcommand{\ditoii}[2]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}\else\fi}
\newcommand{\ditoiii}[3]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}-\lilyText[scale=1,raise=-0.05]{#3}\else\fi}
\newcommand{\betweenLilyPondSystem}[1]{\vspace{5mm}\linebreak}
% comincia il documento
\begin{document}
Ciao e grazie
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Correctly indicate instrument extensions
Hello :-)
With this code I pointed to the extension of a instrument (the horn). The
code is correct, do you think? You can stop the diagonal line so that it
does not overlay the treble clef?
\version 2.16.2
\relative c'' {
\clef bass
\cadenzaOn
bes,,,1 \glissando \clef treble f
\cadenzaOff
\bar ||
}
\layout {
\context {
\Staff \remove Time_signature_engraver
}
\context {
\Score
\remove Bar_number_engraver
\override SpacingSpanner #'uniform-stretching = ##t
}
}
Ciao e grazie
Tommaso
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Re: merging notes
On 09/06/2013 11:32 AM, Karl Hammar wrote: The same thing with rests, if only on rest, it applies both voices if one rest and one note, seperate voices. If only one whole note, both voices. Two whole notes at same pitch just looks strange. Have a look at: http://turkos.aspodata.se/motett/c_saint_saens/4_air.pdf I refer again to Behind Bars by Elaine Gould. Here is a scan from p 52: https://docs.google.com/file/d/0B627QNBiKcXpdXFJWVpkR2o0MFE/edit?usp=sharing Isn't this comparable to your example? For the fermata you could perhaps find a solution here: http://lsr.dsi.unimi.it/LSR/Item?id=372 Thanks, that worked. Great, thanks! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Contolling Hairpin spans again
Hello Kieren I may have jumped the gun a bit (again). It doesn't matter that Midi output is changed (for debugging) so long as the bar lengths are unchanged. I haven't seen the e2*1/2 syntax before. Does that mean engrave a minim but reduce its value in the bar count to that of a crotchet. The Midi engine would creat a bar with an extra crotchet of silence? The second solution overcomes this and is much less complicated than a full staff of dymanics even if it is a bit cumbersome. Thanks again your suggestions were very clear and succinct unlike my ramblings. Peter Gentry ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Contolling Hairpin spans again
Hi Peter, I may have jumped the gun a bit (again). It doesn't matter that Midi output is changed (for debugging) so long as the bar lengths are unchanged. Which, as you've noted, they are. I haven't seen the e2*1/2 syntax before. Does that mean engrave a minim but reduce its value in the bar count to that of a crotchet. The Midi engine would creat a bar with an extra crotchet of silence? Precisely. The MIDI note duration, in this case, would match the hairpin duration (i.e., one crotchet) and then there would be MIDI silence for the second crotchet; the visuals, however, would remain as desired (a minim). Thanks again your suggestions were very clear and succinct My pleasure! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatically insert a space before and after a lilypond, environment
On 09/06/2013 03:57 PM, lilypond-user-requ...@gnu.org wrote:
Hello to all. I quote from the file usage.pdf in the section about
lilypond-book:
Each snippet will call the Following macros if they have been defined by
the user:
\preLilyPondExample [...]
\postLilyPondExample [...]
\betweenLilyPondSystem [...]
?
A few pages after this point, there is a concrete example of use of the
\betweenLilyPondSystem command:
\newcommand {\betweenLilyPondSystem}[1]{\vspace{*length*}\linebreak}
This command inserts a vertical space equal to *length* between a system
of staves and the next one. And it works well in my document
I tried to use in the same way also the commands \pre- and
\postLilyPondSystem, but I did not see any results after compilation of my
document. What should these two commands exactly? Maybe insert space before
and after the example of music? How they must be used?
It's up to your own imagination to make up what to use them for, I guess
they were primarily included for completeness, when they were introduced
in some ancient history. Try for example
\newcommand{\preLilyPondExample}{Hello, here comes a score\\}
just to see what happens.
/Mats
--
=
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.ee.kth.se/~mabe
=
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Re: (unknown)
Tommaso Gordini illinguista1...@gmail.com writes: Hello to all. I quote from the file usage.pdf in the section about lilypond-book: Each snippet will call the Following macros if they have been defined by the user: \preLilyPondExample [...] ^^^ \postLilyPondExample [...] ^^^ I tried to use in the same way also the commands \pre- and \postLilyPondSystem, but I did not see any results after compilation ^^ -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
On 09/06/2013 06:02 PM, Karl Hammar wrote: Doesn't work for me, google complains I have a unsupported browser... Or it might be that my connection is too slow. I have sent you the image if you like to see it. But perhaps it is unhelpful for your problem... It might wery well be so that Ms. Gould likes the double whole notes and have some good rationale for it, but I only think it looks strange, and if I thinks so, the choir will certantly also think so. To lessen confusion, I'd like to merge them. It seems like this is not possible with the ordinary merging technique and the reason is probably the same as Gould's rationale, which I suggested in a previous mail - it will obscure the part writing. But obviously the result you are after can be achieved in same way. I will look into it further in a moment... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
Peter Bjuhr: On 09/06/2013 11:06 AM, Karl Hammar wrote: ... I revised my answer now in the morning, hope you have seen it. An e2 shouldn't look like an e4, I agree! But I still don't think it is a bug. If you use /oneVoice in this way you have accept some additional fixing, which is also documented below. Anyhow, you helped med solve one part! Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double slurs on automatic part combining
On 13-09-06 06:55 AM, Carl Peterson wrote: On Fri, Sep 6, 2013 at 8:46 AM, David Kastrup d...@gnu.org mailto:d...@gnu.org wrote: Carl Peterson carlopeter...@gmail.com mailto:carlopeter...@gmail.com writes: Some hymnals (the same ones) also do not beam flagged notes unless the notes are for the same syllable (in which case, the beam serves as the slur). I have adopted this change. You'll find that switching autobeaming off will make lyric syllables synchronize to beaming. Yes. The template I'm using is actually fairly robust. I've moved as many of the tweaks and customizations (such as autobeaming and shaped notes) to the layout block as possible, even to the point of creating aliased contexts to allow for alternate lyrics and for hidden voices so that each part can be a \lyricsto target. At this point, it can probably handle setting at least 90% of our repertoire, assuming that lyrics and parts are defined correctly. For instance, soprano verse and soprano chorus are given different (hidden) voices. Since I always manually break the music into systems, the chorus always starts on a new line, so any spacing issues from this approach to lyrics are mitigated. I hope you are thinking of adding this to the LSR, Karl. It sounds like a wonderful building block for those of us who work with choirs, especially church choirs! Cheers, Colin -- I've learned that you shouldn't go through life with a catcher's mitt on both hands. You need to be able to throw something back. -Maya Angelou, poet (1928- ) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: can I set panning in midi
Vaughan McAlley:
On 6 September 2013 19:06, Karl Hammar k...@aspodata.se wrote:
Vaughan McAlley:
On 6 September 2013 08:50, Karl Hammar k...@aspodata.se wrote:
...
For which purposes do You want to use midi?
Producing exercise sound files for the choir, they basically wants
mp3's or something similar. I have tried ogg but their systems kind
of not understands that.
I'd like to have e.g. basses at left, tenors mid left, altos mid right
and sopranos at right, to make each voice easier to hear and follow.
...
I wrote the attached script for exactly this purpose. It saves mucking
around with anything more sophisticated than a simple MIDI player. The
tracks are distributed evenly across the panning range. Unfortunately
it requires Lua, but Lua is small and the last few times I’ve found it
very easy to install. More detailed instructions are in the script...
For some reason it produces a exact copy of the input file:
...
Oops, it looks like MIDI files produced by LilyPond 2.17 look a bit
different to what 2.16 produced. This revised version of the script appears
to work, and spat out the attached MIDI file...
This is exactly what I needed, thank you very much!
It works wery well with 2b_choer.midi file, 4 tracks, but for some
reason it fails with
http://turkos.aspodata.se/motett/c_saint_saens/4_air.midi
witch have 5 voices, one tenor solo + 4 discant voices.
The tenor starts to the right but moves to the middle at measure 7,
at least with timidity. Looking att the result midi file it seems
panning.lua only set panning i the tenor voice.
I found libmidi-perl, so I made this little program:
///
#!/usr/bin/perl -w
use strict;
use MIDI;
my $one;
foreach $one (@ARGV) {
my $opus = MIDI::Opus-new({ 'from_file' = $one });
print $one:\n;
$opus-dump({ dump_tracks = 1 });
}
///
and testing gives me
$ lua5.2 ~/panning.lua 2b_choer.midi 2.midi
$ ./midi.pl 2.midi | grep -v note_on
2.midi:
MIDI::Opus-new({
'format' = 1,
'ticks' = 384,
'tracks' = [ # 5 tracks...
# Track #0 ...
MIDI::Track-new({
'type' = 'MTrk',
'events' = [ # 5 events.
['track_name', 0, 'control track'],
['text_event', 0, 'creator: '],
['text_event', 0, 'GNU LilyPond 2.17.10 '],
['time_signature', 0, 4, 2, 18, 8],
['set_tempo', 0, 41],
]
}),
# Track #1 ...
MIDI::Track-new({
'type' = 'MTrk',
'events' = [ # 162 events.
['patch_change', 0, 0, 33],
['patch_change', 0, 0, 33],
['instrument_name', 0, 'electric bass (finger)'],
['control_change', 0, 0, 7, 100],
['control_change', 0, 0, 10, 0],
['track_name', 0, ':Vs'],
]
}),
# Track #2 ...
MIDI::Track-new({
'type' = 'MTrk',
'events' = [ # 182 events.
['patch_change', 0, 1, 33],
['patch_change', 0, 1, 33],
['instrument_name', 0, 'electric bass (finger)'],
['control_change', 0, 1, 7, 100],
['control_change', 0, 1, 10, 42],
['track_name', 0, ':Va'],
]
}),
# Track #3 ...
MIDI::Track-new({
'type' = 'MTrk',
'events' = [ # 122 events.
['patch_change', 4608, 2, 33],
['patch_change', 0, 2, 33],
['instrument_name', 0, 'electric bass (finger)'],
['control_change', 0, 2, 7, 100],
['control_change', 0, 2, 10, 85],
['track_name', 0, ':Vt'],
]
}),
# Track #4 ...
MIDI::Track-new({
'type' = 'MTrk',
'events' = [ # 146 events.
['patch_change', 4608, 3, 33],
['patch_change', 0, 3, 33],
['instrument_name', 0, 'electric bass (finger)'],
['control_change', 0, 3, 7, 100],
['control_change', 0, 3, 10, 127],
['track_name', 0, ':Vb'],
]
}),
]
});
So it does it's job.
But for
$ lua ~/panning.lua 4_air.midi 4.midi
$ ./midi.pl 4.midi | grep -v note_on b
$ ./midi.pl 4_air.midi | grep -v note_on a
$ diff a b
1c1
4_air.midi:
---
4.midi:
22c22
'events' = [ # 252 events.
---
'events' = [ # 253 events.
27a28
['control_change', 0, 0, 10, 0],
$
I.e. only the tenor track is changed. Idéas?
Regards,
/Karl Hammar
---
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Lilla Aspö 148
S-742 94 Östhammar
Sweden
+46 173 140 57
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Re: merging notes
David Kastrup d...@gnu.org writes:
Peter Bjuhr peterbj...@gmail.com writes:
On 09/06/2013 06:24 PM, Peter Bjuhr wrote:
But obviously the result you are after can be achieved in same
way. I will look into it further in a moment...
Maybe this is in the right direction...
\version 2.17.10
lcl = { \revert MultiMeasureRest #'staff-position }
^
This one looks like a bug of the part combiner. I'll try a fix.
Tracker issue: 3534 (http://code.google.com/p/lilypond/issues/detail?id=3534)
Rietveld issue: 13302048 (http://codereview.appspot.com/13302048)
Issue description:
Handle MultiMeasureRest direction in the part combiner like other
elements Since issue 3307, they did not require special
positioning.
--
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Re: Double slurs on automatic part combining
On Fri, Sep 6, 2013 at 12:59 PM, David Rogers davidandrewrog...@gmail.comwrote: In practical terms, Carl's and my hymn books may in fact be considered correct, because in many churches and/or church-music traditions, the congregation is expected to sing in unison most of the time, the choir in SATB if there is a choir, and there will (almost invariably) be an organist/keyboard player. It may be that the notation chosen is a compromise to minimize inconvenience for everyone, according to how much they use the notation and how closely they read it - i.e. all those notes are primarily for the keyboard, and a choir will have little trouble reading four-part keyboard music. This might not be the case in traditions where the custom is for everyone to sing SATB without instruments. Actually, I fit into this last category :). All of our music is sung congregationally, with full SATB harmony (though portions of some songs are written to be sung in unison, or with only a couple of parts), without instruments. That being said, the original reasoning may have been adapted from hymnals that use keyboard reductions. The current reasoning (other than that's the way we've always done it, and the hymnals I've looked at span some 100 years), is that all the extra stems get in the way of reading the music. This is the same motivation behind pointing stems away from the lyrics, so that there's less noise between the words and the notes. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
Peter Bjuhr: On 09/06/2013 11:32 AM, Karl Hammar wrote: The same thing with rests, if only on rest, it applies both voices if one rest and one note, seperate voices. If only one whole note, both voices. Two whole notes at same pitch just looks strange. Have a look at: http://turkos.aspodata.se/motett/c_saint_saens/4_air.pdf I refer again to Behind Bars by Elaine Gould. Here is a scan from p 52: https://docs.google.com/file/d/0B627QNBiKcXpdXFJWVpkR2o0MFE/edit?usp=sharing Doesn't work for me, google complains I have a unsupported browser... Or it might be that my connection is too slow. It might wery well be so that Ms. Gould likes the double whole notes and have some good rationale for it, but I only think it looks strange, and if I thinks so, the choir will certantly also think so. To lessen confusion, I'd like to merge them. Isn't this comparable to your example? For the fermata you could perhaps find a solution here: http://lsr.dsi.unimi.it/LSR/Item?id=372 Thanks, that worked. Great, thanks! :) Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
On 09/06/2013 06:24 PM, Peter Bjuhr wrote:
But obviously the result you are after can be achieved in same way. I
will look into it further in a moment...
Maybe this is in the right direction...
\version 2.17.10
lcl = { \revert MultiMeasureRest #'staff-position }
ma = \relative c' { \lcl
\partcombineAutomatic
d1 |
\partcombineApart
g2 g |
\partcombineAutomatic
R1
\fermataMarkup }
mb = \relative c' { \lcl
d1 | d2 d | R1
\fermataMarkup }
\new Staff
\set Staff.aDueText = #ma + mb
{ \partcombine \ma \mb }
Best
Peter
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Re: Automatically insert a space before and after a lilypond, environment
Am 06.09.2013 16:45, schrieb Mats Bengtsson:
On 09/06/2013 03:57 PM, lilypond-user-requ...@gnu.org wrote:
Hello to all. I quote from the file usage.pdf in the section about
lilypond-book:
Each snippet will call the Following macros if they have been defined by
the user:
\preLilyPondExample [...]
\postLilyPondExample [...]
\betweenLilyPondSystem [...]
?
A few pages after this point, there is a concrete example of use of the
\betweenLilyPondSystem command:
\newcommand {\betweenLilyPondSystem}[1]{\vspace{*length*}\linebreak}
This command inserts a vertical space equal to *length* between a
system
of staves and the next one. And it works well in my document
I tried to use in the same way also the commands \pre- and
\postLilyPondSystem, but I did not see any results after compilation
of my
document. What should these two commands exactly? Maybe insert space
before
and after the example of music? How they must be used?
It's up to your own imagination to make up what to use them for, I guess
they were primarily included for completeness, when they were introduced
in some ancient history. Try for example
\newcommand{\preLilyPondExample}{Hello, here comes a score\\}
just to see what happens.
I use
\let\postLilyPondExample=\newpage
in a recent project to start each included score on a new page.
Just my 2ct.
Marc
/Mats
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Re: Double slurs on automatic part combining
Carl Peterson carlopeter...@gmail.com writes: On Fri, Sep 6, 2013 at 4:53 AM, Phil Holmes m...@philholmes.net wrote: I have to my right hand Hymns and Modern, New Standard and behind me Songs of Praise, New Standard. Both of these use separate voices for Sop and Alto; Tenor and Bass. I strongly believe this is the best way of setting 4 part voice - merging the notes into chords is just wrong, IMHO - it can confuse which voice is singing which part. What happens when the voices cross? FWIW Elaine Gould agrees with me: Ideally each voice takes separate stems. This rule is only broken in her view where space is limited. Ultimately, for what I'm doing, right or wrong is irrelevant. Much like those who are creating custom style sheets to match Henle or Breitkopf or even (cringe) Finale or Sibelius, it doesn't really matter what my sensibilities are or to large degree the way *I* think it ought to be...this is the way it is, and I decide how closely I want to match to it. The fact is that for my target audience, combined stems are the norm, which the noted exceptions of rhythmic differences, small intervals, or crossed voices (see below). I'm in the same situation if I need to transcribe any hymns (which I usually don't need but whatever) - customary trumps correct. Caution: wild assumptions in the following paragraph. :) In practical terms, Carl's and my hymn books may in fact be considered correct, because in many churches and/or church-music traditions, the congregation is expected to sing in unison most of the time, the choir in SATB if there is a choir, and there will (almost invariably) be an organist/keyboard player. It may be that the notation chosen is a compromise to minimize inconvenience for everyone, according to how much they use the notation and how closely they read it - i.e. all those notes are primarily for the keyboard, and a choir will have little trouble reading four-part keyboard music. This might not be the case in traditions where the custom is for everyone to sing SATB without instruments. -- David R ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
Peter Bjuhr peterbj...@gmail.com writes:
On 09/06/2013 06:24 PM, Peter Bjuhr wrote:
But obviously the result you are after can be achieved in same
way. I will look into it further in a moment...
Maybe this is in the right direction...
\version 2.17.10
lcl = { \revert MultiMeasureRest #'staff-position }
^
This one looks like a bug of the part combiner. I'll try a fix.
ma = \relative c' { \lcl
\partcombineAutomatic
d1 |
\partcombineApart
g2 g |
\partcombineAutomatic
R1
\fermataMarkup }
mb = \relative c' { \lcl
d1 | d2 d | R1
\fermataMarkup }
\new Staff
\set Staff.aDueText = #ma + mb
{ \partcombine \ma \mb }
Best
Peter
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Re: Correctly indicate instrument extensions
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Submission with Attachments not showing up?
Hello, I submitted something to the mailing list with 2 attachments and it doesn't seem to be showing up. I've never done this before (at least, I don't remember it). Am I missing something? Thanks, Kale -- Kale Good: Guitar Instructor phillyguitarlessons.com http://phillyguitarlessons.com k...@kalegood.com mailto:k...@kalegood.com phone: (215)260-5383 * 4705 Baltimore Ave, Phila, PA 19143 -mailing lessons * 1867 Frankford Ave. Phila, PA 19125 -lessons Google+ https://plus.google.com/b/105422331794047992190/ Facebook http://facebook.com/KaleGoodGuitarStudio Read my article The Seven Secrets to Six String Success http://www.guitarnoise.com/lesson/seven-secrets-to-six-string-success/ at GuitarNoise.com http://guitarnoise.com Leading the Journey from No-Skills-Guitarist to Talented Musician! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
LilyPond and ConTeXt
Hello There have been several methods in the history of LilyPond for integrating LilyPond scores with ConTeXt documents (ConTeXt is a newer more-flexible system somewhat analogous to LaTeX). Right now, which is the best choice for putting ConTeXt and LilyPond together? (Your answer might be Don't bother, just use LaTeX, if you have a good reason for saying that.) -- David R ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Submission with Attachments not showing up?
Ah, that'll do it. I include the .ly and .pdf files. I'll try again with just the .ly Similarly, when I click on an attachment link in the emails I receive from the mailing list, it never really works (I forget the specifics of what happens). I see they are up on the nabble site. Whats the deal there? -- View this message in context: http://lilypond.1069038.n5.nabble.com/Submission-with-Attachments-not-showing-up-tp150357p150363.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Submission with Attachments not showing up?
On 09/06/2013 07:40 PM, Kale Good wrote: I submitted something to the mailing list with 2 attachments and it doesn't seem to be showing up. I've never done this before (at least, I don't remember it). Am I missing something? Hi! There is a memory limit for each post apparently. Perhaps you could upload the files somewhere else and post the links instead? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond and ConTeXt
Am 06.09.2013 19:12, schrieb David Rogers: Hello There have been several methods in the history of LilyPond for integrating LilyPond scores with ConTeXt documents (ConTeXt is a newer more-flexible system somewhat analogous to LaTeX). Right now, which is the best choice for putting ConTeXt and LilyPond together? (Your answer might be Don't bother, just use LaTeX, if you have a good reason for saying that.) Hehe – just use LaTeX ;-) I stumbled across this problem some time ago and found http://wiki.contextgarden.net/LilyPond which might work or not, but since this project would have been the first try to get a grip with ConTeXt and I didn't manage to get even the stuff mentioned in this link up and running, I decided to use XeLaTeX and lilypond-book for the simple reason that I find it easier to find help on the web concerning LaTeX-specific problems ;-) You may find that the spacing between staff lines is not optimal when using lilypond-book, but a suitable definition for \betweenLilyPondSystem may help in this case. Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Submission with Attachments not showing up?
2013/9/6 Peter Bjuhr peterbj...@gmail.com: On 09/06/2013 07:40 PM, Kale Good wrote: I submitted something to the mailing list with 2 attachments and it doesn't seem to be showing up. I've never done this before (at least, I don't remember it). Am I missing something? There is a memory limit for each post apparently. Perhaps you could upload the files somewhere else and post the links instead? The attachment size limit is about 100 kb. Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
defining custom contexts: child context doesn't work properly
Hi, I'm trying to create predefined custom contexts for specific instruments, for example define a TenorStaff which has appropriate instrumentName, clef, ambitus, etc. Predefined staves work well, but i didn't manage to make custom voice contexts work properly with them - despite using \defaultchild, wrong context is created. Here are the definitions that i have so far: http://github.com/openlilylib/snippets/blob/master/templates/predefined-instruments/instrument-context-definitions.ily Here is my testing file: http://github.com/openlilylib/snippets/blob/master/templates/predefined-instruments/overriding-example.ly Note that i can override the color of noteheads in AltoStaff by using appropriate command in the \layout block, but if i try to do this for SopranoVoice, nothing hapens. Apparently soprano notes aren't placed in a SopranoVoice, just in an ordinary Voice. Any ideas? Janek PS since the files are placed in a repository on GitHub, you can edit them online and send me suggested changes via GitHub interface, as explained here http://github.com/openlilylib/snippets/blob/master/README.md ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond and ConTeXt
2013/9/6 Marc Hohl m...@hohlart.de: You may find that the spacing between staff lines is not optimal when using lilypond-book, but a suitable definition for \betweenLilyPondSystem may help in this case. In that case you may be interested in reading this http://lilypondblog.org/2013/07/creating-songbooks-with-lilypond-and-latex/ Urs, i remember that you were using something like this - this is it, or is there yet another tool available? best, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Project Completed(-ish): 120 R.H. Studies by Giuliani
Wow, Terrific. I put them at http://www.omet.ca/scores/Mike_Blackstock_2/Giuliani_Mauro/120/120-B.html for reference - I hope that's ok (let me know if not and I'll take them down) On Fri, Sep 6, 2013 at 2:31 PM, Kale Good k...@kalegood.com wrote: Hello all, I haven't had a chance to do a serious proof read of this yet; I wanted to do it today but some other work came up, so I'm sending it out more than a little unfinished. All the notes and fingerings are there (or should be), but I haven't tweaked layout at all yet. This is my first big project, so feedback is very helpful. I do have some explicit questions: 1. Is there a way to get the time signature to print on ever line and to place it inside of the repeat bracket with my current score structure? 2. Getting spacing right (bar lines line up for each exercise): my unimplemented strategy is to put a voice in it with the proper spacing and make it transparent. A few minutes of mucking around making me wonder if this will work. Will it, and/or any better ideas? 3. Can I do a second row of fingerings somehow? I'd like to show editor's suggestions alternate fingerings. 4. Vertical spacing and beam slope height recommendations? I'm still developing my eye for this sort of thing. The first page looks like it could be a little tighter, as do a few other spots. Thanks for the support. Best, Kale -- Kale Good: Guitar Instructor phillyguitarlessons.com k...@kalegood.com phone: (215)260-5383 - 4705 Baltimore Ave, Phila, PA 19143 -mailing lessons - 1867 Frankford Ave. Phila, PA 19125 -lessons Google+ https://plus.google.com/b/105422331794047992190/ Facebook http://facebook.com/KaleGoodGuitarStudio Read my article The Seven Secrets to Six String Successhttp://www.guitarnoise.com/lesson/seven-secrets-to-six-string-success/ at GuitarNoise.com http://guitarnoise.com Leading the Journey from No-Skills-Guitarist to Talented Musician! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Mailing list confusion? Email change
Hello, I recently tried to change my email address that is associated with my LilyPond mailing list account, but it seems to have failed. All messages I've attempted to send to the list with my new email account have all been stuck as *pending* for quite a while now. I've updated my email account on the Nabble/archive as well, everything matches; I even confirmed the change via the link in the confirmation email. Any ideas on how to successfully change your mailing list email account without having to start from scratch as a new user? I've since had to revert back to my original email account in order to send this message. Thank you, Ben - composer | sound designer -- View this message in context: http://lilypond.1069038.n5.nabble.com/Mailing-list-confusion-Email-change-tp150368.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: defining custom contexts: child context doesn't work properly
Janek Warchoł janek.lilyp...@gmail.com writes: I'm trying to create predefined custom contexts for specific instruments, for example define a TenorStaff which has appropriate instrumentName, clef, ambitus, etc. Predefined staves work well, but i didn't manage to make custom voice contexts work properly with them - despite using \defaultchild, wrong context is created. No, the correct context would be created as soon as you need a bottom context. In this case, you don't need one. Here are the definitions that i have so far: http://github.com/openlilylib/snippets/blob/master/templates/predefined-instruments/instrument-context-definitions.ily Here is my testing file: http://github.com/openlilylib/snippets/blob/master/templates/predefined-instruments/overriding-example.ly Note that i can override the color of noteheads in AltoStaff by using appropriate command in the \layout block, but if i try to do this for SopranoVoice, nothing hapens. Apparently soprano notes aren't placed in a SopranoVoice, just in an ordinary Voice. If there was any need for a Bottom context, it would be a SopranoVoice. However, \addlyrics says hey, I need a Voice right after SopranoStaff has been created, and gets the demanded Voice. And then a Bottom context is there. Without \addlyrics, you'll get the expected result. Possibly even when writing \new SopranoVoice (but I'm not sure \addlyrics will accept an alias). Any ideas? Use \lyricsto. \addlyrics sucks for anything but Voice contexts. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Project Completed(-ish): 120 R.H. Studies by Giuliani
Hi, 2013/9/6 Kale Good k...@kalegood.com: [...] very big attachment I'm very surprised that this attachment went through. Nevertheless, please don't send so big attachments in the future - considering that this mailing list has about 1000 subsribers, sending your email meant transferring ~2GB of data around the world. It's much better to upload the file and link to it. best, Janek PS you probably want to read http://www.lilypond.org/doc/v2.17/Documentation/usage/point-and-click (your pdf contains lots of unneeded links which increase its size). ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Submission with Attachments not showing up?
On 07/09/13 03:53, Janek Warchoł wrote: 2013/9/6 Peter Bjuhr peterbj...@gmail.com: On 09/06/2013 07:40 PM, Kale Good wrote: I submitted something to the mailing list with 2 attachments and it doesn't seem to be showing up. I've never done this before (at least, I don't remember it). Am I missing something? There is a memory limit for each post apparently. Perhaps you could upload the files somewhere else and post the links instead? The attachment size limit is about 100 kb. Well, I automatically had the two attachments totalling ~1.8MB attached to the list mail in my inbox (Thunderbird)... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Submission with Attachments not showing up?
When I click on links, the files download successfully (both Nabble and in my mailbox). Ben Kale Good wrote Ah, that'll do it. I include the .ly and .pdf files. I'll try again with just the .ly Similarly, when I click on an attachment link in the emails I receive from the mailing list, it never really works (I forget the specifics of what happens). I see they are up on the nabble site. Whats the deal there? - composer | sound designer -- View this message in context: http://lilypond.1069038.n5.nabble.com/Submission-with-Attachments-not-showing-up-tp150357p150366.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: merging notes
In the second bar, the filling in of the merged notehead on the half
note is avoided if you rearrange the music to put the merged notes in
the voices that are implicitly voiceOne and VoiceTwo:
\relative c''{
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
{
c8 d e d c d c4
e,8 a b c fis2
} \\ {
c2 c8. b16 c4
e,2 r
} \\ {
s1
g'2 d
}
}
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Re: Correctly indicate instrument extensions
Thank you, Pierre, but the folliwing code don't works :-(
I get an error: clefGlyph is not a known grob...
Where I'm wrong?
\version 2.16.2
\relative c'' {
\clef bass
\cadenzaOn
\override Score.StaffSymbol #'layer = #4
\override Staff.clefGlyph #'layer = #3
bes,,,1 \glissando
\once \override Staff.clefGlyph #'whiteout = ##t
\clef treble f
\cadenzaOff
\bar ||
}
\layout {
\context {
\Staff \remove Time_signature_engraver
}
\context {
\Score
\remove Bar_number_engraver
\override Stem #'transparent = ##t
\override SpacingSpanner #'uniform-stretching = ##t
}
}
Ciao
Tommaso
2013/9/6 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com
http://lsr.dsi.unimi.it/LSR/Item?id=831
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Re: defining custom contexts: child context doesn't work properly
2013/9/6 David Kastrup d...@gnu.org: Janek Warchoł janek.lilyp...@gmail.com writes: Here are the definitions that i have so far: http://github.com/openlilylib/snippets/blob/master/templates/predefined-instruments/instrument-context-definitions.ily Here is my testing file: http://github.com/openlilylib/snippets/blob/master/templates/predefined-instruments/overriding-example.ly Note that i can override the color of noteheads in AltoStaff by using appropriate command in the \layout block, but if i try to do this for SopranoVoice, nothing hapens. Apparently soprano notes aren't placed in a SopranoVoice, just in an ordinary Voice. If there was any need for a Bottom context, it would be a SopranoVoice. However, \addlyrics says hey, I need a Voice right after SopranoStaff has been created, and gets the demanded Voice. And then a Bottom context is there. Ah, i understand. Not pretty, but i assume that one cannot do much about it... Without \addlyrics, you'll get the expected result. indeed. Possibly even when writing \new SopranoVoice (but I'm not sure \addlyrics will accept an alias). it doesn't. Any ideas? Use \lyricsto. \addlyrics sucks for anything but Voice contexts. I will, but that's a pity. I hoped this template to be as simple as possible (that's why i'm creating these predefined contexts) - having to use explicit lyrics contexts makes everything more complicated than i would like it to be :/ Anyway, thanks for explanation. Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double slurs on automatic part combining
On Thu, Sep 5, 2013 at 10:33 PM, Carl Peterson carlopeter...@gmail.comwrote: This probably means that if it bothers me enough, I'm going to have to go back into the part-combiner.scm file and dissect it. While my hands are in the patient, I might as well figure out how to get it to combine tied and slurred notes (such as on a suspension). The code for both is probably in the same general vicinity. The question is whether it bothers me enough, or if I'm willing to either put up with the individual tweaks or letting the current default output be what it is. So getting back to this, I had somewhat a stroke of inspiration, but I can't find in the documentation whether this is possible. Is it possible to define a global context for all voice ones and all voice twos? In other words, the thought I had (and I'm thinking about the CSS ability to define both element and id-level properties) is to set double-slurs as the default at the \layout block level, then specify single slurs for the named split voices. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double slurs on automatic part combining
On Fri, Sep 6, 2013 at 6:02 PM, Carl Peterson carlopeter...@gmail.comwrote: So getting back to this, I had somewhat a stroke of inspiration, but I can't find in the documentation whether this is possible. Is it possible to define a global context for all voice ones and all voice twos? In other words, the thought I had (and I'm thinking about the CSS ability to define both element and id-level properties) is to set double-slurs as the default at the \layout block level, then specify single slurs for the named split voices. Answered my own question. Yes, it is possible. What I did to accomplish this was use doubleSlurs = ##t in the Voice context layout block. Then, I explicitly created Voice = one and Voice = two with doubleSlurs = ##f and slurs in the correct directions. Beautiful, and no Scheme manipulation required. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double slurs on automatic part combining
Karl Hammar wrote: Not so fast, \\ is a pain with vocal music, we want a explicit voice name for \lyricsto see below Carl Peterson wrote: Yes. The template I'm using is actually fairly robust. I've moved as many of the tweaks and customizations (such as autobeaming and shaped notes) to the layout block as possible, even to the point of creating aliased contexts to allow for alternate lyrics and for hidden voices so that each part can be a \lyricsto target. Karl and Carl (and other choral typesetters), I've added a new context to the source code called NullVoice which is designed exactly for this purpose. It's not yet available as a release, but you can get it by replacing your installed copy of ly/engraver-init.ly with: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=blob_plain;f=ly/engraver-init.ly;hb=df8a24 The documentation is not yet online, but if you can read through the texinfo code, you can learn about it here: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=commitdiff;h=2537ec#patch2 I'd actually appreciate if you and the other choral typesetters test this out now, in case I've missed something, or if you have any suggestions for improvement. Thanks. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double slurs on automatic part combining
On Fri, Sep 6, 2013 at 9:08 PM, Mark Polesky markpole...@yahoo.com wrote: Karl and Carl (and other choral typesetters), I've added a new context to the source code called NullVoice which is designed exactly for this purpose. It's not yet available as a release, but you can get it by replacing your installed copy of ly/engraver-init.ly with: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=blob_plain;f=ly/engraver-init.ly;hb=df8a24 The documentation is not yet online, but if you can read through the texinfo code, you can learn about it here: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=commitdiff;h=2537ec#patch2 I'd actually appreciate if you and the other choral typesetters test this out now, in case I've missed something, or if you have any suggestions for improvement. I will take a look at it at in the near future. I looked at the source and it looks like it will work for what I'm doing. However, right now I'm working through some other things and don't want to completely work through that and this at the same time since the two would be intertwined. Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
