\lyricsto w \new Lyrics \words
\context Staff = bottom \notes {\clef F \accomp}
\paper{}
}
--
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Mats == Mats Bengtsson [EMAIL PROTECTED] writes:
Mats Your example doesn't work, since both lines of lyrics and both
Mats settings of the stanza property are done in one and the same
Mats Lyrics context.
That's what I thought, but couldn;t coe up with the right magic to get
it to work -- so
down
afterwards by a tone ...
I've just about given up using \transposition now. Instead I notate
clarinet parts as
Clar=\transpose c' bes \relative c' { ... }
and then transpose the part up again in the \score block for MIDI
output.
It's a pain.
--
Dr Peter Chubb http
, lots of accidentals)
Peter C
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))
^ note the quote here
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A university is a non-profit organisation only in the sense that it
spends everything it gets ... Luca Turin
$LILY $midionly $@
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A university is a non-profit organisation only in the sense that it
spends everything it gets ... Luca Turin
Peter == Peter Chubb lily-u...@chubb.wattle.id.au writes:
Peter I embed Lily in a shell script for that kind of thing (I'm
Peter running on Unix):
(I've just noticed you're using Windows ... you'll need to ask someone
who's a Windows expert as to how to script it, as you won't
necessarily have
}
}
}
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http://www.ertos.nicta.com.au ERTOS within National ICT Australia
A university is a non-profit organisation only in the sense that it
spends everything it gets ... Luca Turin
M == M Watts M writes:
M Peter Chubb wrote:
I'm using the current 2.12.2 version of lilypond. The attached
file yields, programming error: vertical alignment called before
line-breaking and no lines on the staff.
If I remove the \bar |. the output is correct.
M For me, with 2.12.2
a number of times by things not being as I expected
them to be from the NR --- not that the NR was wrong, but that the way
elements are combined wasn't explicit.
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added it.) Here's the terminal output:
\relative can't be used inside \chordmode I think. \relative
introduces a sequence of note-names; \chordmode introduces a sequence
of chord names.
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well.
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All things shall perish from under the sky/Music alone shall live, never to die
) to describe the mode.
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All things shall perish from under the sky/Music alone shall live, never to die
, then in your \score
block do, e.g,. to put the whole piece up a tone:
\score {
\transpose bes c'
...
\layout{ ... }
\midi{...}
}
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, the next note is always relative to
the preceding one.
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Kernel Engineering Group (KEG): Where Systems Brew
then to do it), and the hacked up communication between the two
passes. I'd also like to do something about trills and turns with
alterations, and do a better calculation for trill duration.
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http
Peter == Peter Chubb lily.u...@chubb.wattle.id.au writes:
Peter Hi,
Peter I've put up a page on how to get more realistic sounding MIDI
Peter output from current LilyPond, along with the scripts and scheme
Peter code used, at http://www.nicta.com.au/people/chubbp/articulate
And I've now
Hans == Hans Aberg hab...@math.su.se writes:
Hans On 2 Jun 2009, at 01:29, Peter Chubb wrote:
I've put up a page on how to get more realistic sounding MIDI
output from current LilyPond, along with the scripts and scheme
code used, at http://www.nicta.com.au/people/chubbp/articulate
Hans
the file?
Try shift-reload , you're probably still getting a cached version of
the page.
Peter C
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{ \tenorSax }
\midi {
}
}
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'
\new Staff \clarinet
\new Staff \flute
\midi {}
\layout{}
}
You'll hear a discord instead of the unison you expect.
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\unfoldRepeats will still work.
Do like this:
\score {
\unfoldRepeats
\context Staff
what you had before
\midi {
}
}
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StaffSymbol #'stencil = ##f
\override BarLine #'transparent = ##t
}
indent = 0.0\mm
}
}
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All things shall perish from
for the soprano part, below the
lower staff for the bass part, etc.
This is because it's fairly common for one part to repeat some words,
while the other parts do not.
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\vB
\layout {
\context {
\Lyrics
\consists New_dynamic_engraver
}
}
}
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even worse.
Xeon 5560: 256k L2, 8M L3 cache (which is almost as fast as the Pentium D's L2
cache)
Pentium D: 1M L2 cache, no L3 cache.
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is single-threaded, so the number
Han-Wen of cores is irrelevant.
That doesn't explain why going from the Core Duo to the Xeon
dropped the time from 11 minutes to 4 minutes. The reason, as I said,
is the increased cache size.
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will not be
printed --- it's the same chord.
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midi is broken. I'll try
to fix it today or tomorrow, and get a new version up.
Peter C
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if there is
anything between the \score{ and the first bit of real music.
lilywrap
Description: Binary data
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Grammostola == Grammostola Rosea rosea.grammost...@gmail.com writes:
Grammostola Peter Chubb wrote:
Grammostola When using lilywrap I get:
Grammostola lilywrap dynamics.ly /usr/local/bin/lilywrap: 23: Syntax
Grammostola error: ( unexpected
Hmmm. Are you using a non-standard /bin/sh
Peter == Peter Chubb lily.u...@chubb.wattle.id.au writes:
Peter You probably have dash installed as the system shell. Here's
Peter an updated verion of the script that will work with Dash, and
Peter will *still* work on POSIX compliant shells, but will no longer
Peter work with the traditional
and
written explicitly in expanded form into the midge source.
While midge could be used as an intermediate format for MIDI output, I
can't see at present what it would gain for us --- the level of
abstraction over a standard binary MIDI file is very small.
--
Dr Peter Chubb
: understanding the textual annotations
that composers put into their scores, and interpreting them.
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From Imagination to Impact
be a
Anthony good one.
Unfortunately, E.H. Shepherd is still in copyright.
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From Imagination to Impact Imagining the (ICT) Future
it is for. Then
add a line
\version x.y.z
(where x.y.z is the version it is for) and run convert-ly on the
result. Then try again with LilyPond.
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the license clauses after taking legal advice; as an
add-on to LilyPond, it has to have the same licence, viz. GPL 2.
I'm happy to relicense when LilyPond does.
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to. But is there a neater way to get what I want?
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All things shall perish from under the sky/Music alone shall live, never to die
{ ... }
lower = \relative { ... }
\score {
\context ChordNames \guitarChords
\context GrandStaff
\context Staff = upper \upper
\context Staff = lower \lower
}
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urls.
Graham Cheers, - Graham
Graham ___ lilypond-user
Graham mailing list lilypond-user@gnu.org
Graham http://lists.gnu.org/mailman/listinfo/lilypond-user
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http
Akira == Akira i.love.the.pika...@gmail.com writes:
Akira What I want to say is just on this picture. Please see this
Akira picture:
Akira
http://lh6.ggpht.com/_Rub71FvXx30/Sv1NLn_iKgI/ADc/I-Amwi5RrK8/differentmusicpdfmidi.JPG
Akira I'm typesetting a piece that includes trills, but a
|
}
tuba = \relative c, {
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be possible to translate some of these into metronome markings or
\ or similar; others, I have no idea about.
Non-notated repeats are also going to be hard (`dal segno al coda',
`dal segno al fine')
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http
~ c16 ~ c16 \! ~ c16 \pp }
and even that doesn't give as smooth a transition as one would like.
Any ideas?
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are repeated, so a beam of quavers look like semiquavers.
I want the tune in a separate named voice so I can use \lyricsto.
I could put it on a separate stave, but that would make the music
spread over two pages.
Any ideas?
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to, with
mostly the same timing, and mostly doubling the top line in the
accompaniment.
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that? e:m2 doesn't work. Zoltan
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http
Peter == Peter Chubb [EMAIL PROTECTED] writes:
Michael == Michael Watts [EMAIL PROTECTED] writes:
Michael e2:m Now, if only there were a manual..
Zoltan I would like to type Em2 chord in chordmode. How can I do
Zoltan that? e:m2 doesn't work. Zoltan
Try
e:2.3-
to get
\key es \major \repeat volta 2 {
s1*2 } }
notes =\relative c' { es4 f es f | es f es f }
\score {
\unfoldRepeats \context Staff \global \notes
\midi{}
\layout{}
}
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http
to do this yet? for
example, given e return fis (if the current key is g), or given e return f (if
the current key is c)? I'm a bit stuck, as I can't even work out how
to get at the current key within a music-function.
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update
ac:current-key.
Is there a better way? Does Lilypond keep track of the current key
signature for me?
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'' { ... }
\include articulate.ly
\score {
\unfoldRepeats \articulate lots-of-music
\midi{}
}
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Peter == Peter Chubb [EMAIL PROTECTED] writes:
Peter On my quest for better MIDI, I'm trying to deal with
Peter alterations on a turn. How do I look `inside' a markup
Peter sequence?
Peter What I've tried is:
Peter (let* ((t (ly:music-property e 'text)))
Peter (cond
Peter
they either work correctly inside
Jay a \relative section or correctly outside but not both. Is there a
Jay standard way to make them work in both?
Not that I know of.
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of the
piece? Inquiring minds want to know.
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A university is a non-profit organisation only in the sense that it
spends everything it gets ... Luca
for free.
So you're saying a lilypond moment is a duration of musical time, not an
instant in musical time? Is there a function to translate from
lilypond moment to lilypond duration and back?
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http
-questions-td16953318.html for
diatonically up one tone, it's easy enough to adjust for down a third.
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A university is a non-profit organisation
right, so have to explicitly do things like:
\pp c64 ~ \ c64 ~ c64 ~ c64 ~ c64 ~ c64 ~\!\sf c64 ~ \ c64 ~ c64
~ c64 ~ c64 ~ c64 ~ c64 ~ c64 ~c64 ~ c64 ~ c64\! \pp
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with no key sig, then transpose.
So:
majorTriad={ \key c \major c e g}
minorTriad={\key c \minor c es g}
Lydian={\key c \major c e gis bes]
Then transpose.
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Thermo == Thermo [EMAIL PROTECTED] writes:
Thermo I have a one page lyrics, melody and chords lilypond format
Thermo file.
Thermo Now I would like to add a flute melody over the same chords on
Thermo a new page, then add a guitar melody over the same chord
Thermo structure. So it is basically
be made.
articulate.tar.bz2
Description: Binary data
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Trevor == Trevor Daniels [EMAIL PROTECTED] writes:
Trevor Hi Peter
Trevor Just tried your articulate.ly. Looks really promising! A
Trevor couple of early comments. It may be obvious, but \articulate
Trevor should only be used in a \score block with just \midi {} - it
Trevor mucks up the
Carl == Carl Peterson [EMAIL PROTECTED] writes:
Carl I'm working on a hymnal, and I have some questions
Carl about some things I need to do for it, layout-wise.
Carl 1) How can I number the hymns (i.e., number each score). I can't
Carl use strict page numbering, since multiple hymns may be on a
this:
\score {
\transpose c' bes
\relative c' { c1 }
\relative c' { \transposition bes d1 }
\midi{}
}
You should get a unison, but instead get a major second in the MIDI
output.
--
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andersvi == andersvi [EMAIL PROTECTED] writes:
andersvi (buffer-file-name) returns a string without
andersvi backquote-escaping the whitespaces.
andersvi Heres a replacement (try evalling this somewhere in emacs
andersvi after 'lilypond-mode is loaded). Please test before
andersvi including
Daryna == Daryna Baikadamova [EMAIL PROTECTED] writes:
Daryna Are there any
Daryna accompaniment systems / plugins (open or proprietory) taking
Daryna lilypond files as input?
I just generate Midi without the clarinet part and play along with
it. Tricky part is that a Midi sequencer has no
the \transpose directive before the
\unfoldRepeats directive in each \score{} block.
And as was said in a different message, you need to convert the source
to a more recent Lily.
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Federico http://casagrau.org/~donfede/lily/lily_print_bad.ps
There's a permissions error on this one.
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or
associatedVoice.
A4 -- des2 --
te,4 fi -- del2 -- es,
The output looks OK. Why does Lily care about associated voice, if
all lyrics have explicit durations?
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-.
g-.-rall f-. e-. d-.
c-. d-. e-. f-.
g-. f-. e-. d-.
c1-.
}
\midi { }
}
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http://www.ssrg.nicta.com.au Software Systems Research Group/NICTA
.
I'll have a go at changing articulate to fix this.
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Malte == Malte Meyn malte.m...@studium.uni-erlangen.de writes:
Malte On 13.03.2012 03:52, Peter Chubb wrote:
Thomas == Thomas Morley thomasmorle...@googlemail.com
writes:
Malte Hm. I see two problems: 1. Did I understand right, that -rall
Malte changes the tempo in a single step? That’s more
/examples/test.ly:8:59: warning: already have
Nick a beam \times 4/6 { a32[( g) fis( g) \appoggiatura { fis16 [ g]
Nick } a32 g] } warning: cannot end slur warning: unterminated slur
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FireTight == FireTight fireti...@gmail.com writes:
FireTight Hello, my name is Jiri FireTight Szabo and I would like
FireTight to introduce program ly2video to you. This program can
FireTight generate videos from your LilyPond projects that contains
FireTight moving music staff, which is
How do I get Lily to use a more sensible font for PDF output? Because
I don't have New Centiury Schoolbok installed on my system, lyrics
come out in Courier (and look awful). The documentation just says
`the default font is set by Pango/font' which helps me not at all...
--
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://marcs.uws.edu.au/links/ICoMusic/Full_Paper_PDF/deGraaff_Schubert.pdf
And I'm sure you've also seen the automatic music performance work
from KTH? http://www.speech.kth.se/music/performance/download/
It's all open source.
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, we can work out how
to teach them not to.
Peter C
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|
}
\layout{}
\midi{}
}
but that renders really badly.
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All things shall perish from under the sky
on the to-do list.
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On 20/03/2011, at 7:55 PM, Francisco Vila paconet@gmail.com wrote:
2011/3/18 Francisco Vila paconet@gmail.com:
2011/3/18 Graham Percival gra...@percival-music.ca:
On Fri, Mar 18, 2011 at 09:17:47AM +0100, Marc Hohl wrote:
Just adding articulate.ly in ly/ and giving one example in
. And that is why GPL v2.0
was chosen as the licence when I went through the rigmarole I had to
to get clearance to release it.
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\lyricsto verse \context Lyrics=three \verseThree
\lyricsto interverse \context Lyrics=one \preambleTwo
\lyricsto interverse \context Lyrics=Two \preambleThree
\lyricsto interverse \context Lyrics=Three { \preambleThree
\lastWordFour}
}
--
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heuristics, and should probably be redesigned anyway.
Peter C
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Father == Father Gordon Gilbert fatherg...@gmail.com writes:
Father Can someone help me here? On this Anglican chant , in the
Father tenth measure (end of the first section of verse two) the
Father melody notes are 1/2 notes and the harmony notes are whole
Father notes, yet in my pdf viewer,
i can't give a link to the direct download file, as the CMS
generates such links in ways I can't fathom.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
. Performance practice varies widely.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things shall perish from under the sky/Music alone shall live, never to die
at the
end of a phrase marked with a phrasing slur or are explicitly marked
tenuto so it isn't an issue. I can see there could be problems in
some music though.
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Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS
Graham == Graham Percival gra...@percival-music.ca writes:
Graham On Fri, Apr 15, 2011 at 12:54:53PM +1000, Peter Chubb wrote:
David A fixed ratio seems a mistake to me: like optical scaling of
David fonts, the ratio should depend on the length of the note as
David well as the speed of the piece
the script?
I tried
legato=#(set! ac:normalFactor '(1 . 1))
in a normal lily file, but it didn't seem to work. The value in the
#(define...) statement in the included file was the one used.
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Dr Peter Chubb peter DOT chubb AT nicta.com.au
http
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http://www.ertos.nicta.com.au ERTOS within National ICT Australia
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Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au
this kind of thing if my current locale is set to a non-UTF-8
locale, and I try to process files containing UTF-8 characters.
Dunno how to set locale on Windows though.
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Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within
\relative c' { f1 ~
{ f c' ~ ais' c'4 } \\
{s8\ s4. \!\ s4. s8\!}
c2\pp
c b' g' \\
{s8\ s4 s8\!}
}
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Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au
into an issue I
hadn't thought of in the design of Articulate --- none of the instruments
I play can do chords!
I shan't have time to look at the problem until next week. In the
meantime if there are any Scheme coders out there, please have a go
(my scheme is awful!)
Peter C
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Dr Peter Chubb http
~ a} \\ {c8.. r16 c4}
and unfortunately that's beyond my scheme ability.
If you split it before articulate sees it, like so:
{a ~ a} {c c}
the MIDI will be correct. You need to fiddle stem directions usually,
to make the PDF look OK when you do this.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au
christophe == christophe 1710 chris1...@free.fr writes:
christophe \version 2.14.0 \header {tagline =}
christophe One = \relative d'' {
christophe \time 3/4 | % 1 \partial 8*2 \acciaccatura d8 c8\p
christophe ( b8 ) c4-. c, e g4 -. c e g4 -. }
christophe Two = \relative c {
reruns lilypond, hit R in the Xpdf window and it
refreshes. Done!
Peter C
--
Dr Peter Chubb http://www.gelato.unsw.edu.aupeterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things shall perish from under the sky/Music alone shall
James == James Harkins jamshar...@gmail.com writes:
James At Tue, 21 Jun 2011 13:33:48 +1000, Peter Chubb wrote:
I just do C-c C-c and then View --- xpdf then runs in the
background. C-c C-c again reruns lilypond, hit R in the Xpdf
window and it refreshes. Done!
James Hm... no, that's
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