> I downloaded 1.3.33 and tried some of the pieces that produced rather
> weird output with the previous versions. Most noticeable improvements
> are the slurs and the placement of the dynamics. Collision detection is
> also better (e.g. textscripts and hairpins). They are pretty! I
> appreciate the effort very much.
Thanks. I see from your WakeMeUp_Lord that some dynamics placement
is still messing up.
> Just before I get into the core dump and feature request, I would like
> to know if mutopia is open to any submission. For example, I have
> arranged some pieces, and I would like to share with others. Can I
> submit to mutopia?
There was a discussion lately, see
http://www.mail-archive.com/[email protected]/msg02957.html
and
http://www.mail-archive.com/[email protected]/msg02911.html
basically, there's a problem for new compositions. Mutopia can only
accept music that has a free license. I think there's consensus
to accept BSD-style and public domain. Currently, there's no
copyleft license that was found suitable for Mutopia. Maybe we
should into at the GNU Documentation License, but that's concered
with things like cover pages, blurps etc. You can always put music
up your own website, until this has been sorted out.
> Now the core dumps.
>
> 1) lily core dumps on WakeMeUp_Lord.ly (see attachment). It might be
> related to a recent post about a core dump from lily 1.3.33, and that
> piece has lyrics (this one too).
Fixed in 1.3.35 (ping, and now 1.3.36 is out). Probably a problem with
the new dynamics placement.
> 1.1) When running ly2dvi against this piece, I get this warning:
>
> WakeMeUp_Lord.ly:332:24: warning: No ties were created!:
> \stemdown d2 c ~
> \stemboth |
>
> But the tie is created nevertheless.
Strange.
> 2) Take a look at measure 13 of Cradle.ly (see attachment). The grace
> notes are weird. In the same place, the fermata and "a tempo" clash
> with other stuff.
Noted.
> 3) Same piece, measure 10. The fff in LH should be above staff, but it
> gets pushed *way* below the staff. In measure 8, the f is pushed into
> the middle of the upper staff. Similar problems appear in other places.
Noted.
> There are a number of features that I would like to see. They help me
> to typeset some larger pieces that I have seen (and some that I have
> written). The list is long, and I hope it won't annoy you. If
> possible, please also mention how difficult it is to implement these
> features. (I really would like to get my hands on the code, but my
> compiler assignment...)
>
> 1) Horizontal and possibly vertical brackets. There was discussion on
> it, and there was no agreement on what the bracket should look like.
> Today, I just see a piece that has a h. bracket above a staff. It is
> used to group a few notes, and there is a description on top of that
> bracket that instructs the singers how to sing those notes. Vertical
> brackets are also good, because I may want to hint the performer that
> certain notes are to be played by the L/R hand.
>
> Regarding the style of brackets, I prefer to have a couple of selections
> like the following:
>
> |______|
>
> |___
>
> ___|
>
> __/\__
>
> \_____/
>
> and other styles that I don't know of. =) I know some people have
> preference on one over the others, but if I want the typesetting to be
> the same as the original manuscript, then I need that particular
> bracket, regardless of the rationale behind the use of each.
Horizontal brackets should be fairly easy to implement. We already
have things like that, you can look at volta-spanner.cc, and at
how crescendos are requested and handled: \< \! in parser.yy.
> 2) Lines leading from one note to another. This helps the voice parts
> to note the change of voice line and/or direction. The line may cross
> staff.
Glissandi look like this too. This also shouldn't be difficult, but
note: this line can only (easily) span notes that are in the same voice.
It seems like you're doing cross-staff things in Cradle.ly a bit the
`wrong' way. You should define a voice, and have that 'jump' from
one staff to the other:
\score{
\context PianoStaff <
\context Staff=one \notes\relative c'{
\context Voice
\translator Staff=two
a4 b(
\translator Staff=one
)c d
}
\context Staff=two \notes\relative c'{
\clef bass;
s1
}
>
}
See also in directory mutopia/J.S.Bach/wtk1-fugue2.ly.
> 3) Mid-measure break. Please take a look at Cradle.ly. Look at measure
> 9. It spans two systems. I trick lily with this command in the LH
> staff (with luck):
>
> \bar "empty"; \bar "brace"; \bar "|";
>
> Of course, it generates lots of warnings. =)
See 9)
> 4) Breath marks. I don't know why the breath marks in lily are so
> small. They look like single quotes, only slightly longer. (I've never
> seen this one.)
It's common, though, as is:
> What about a big comma (between two notes), and 2 or 3
> slashes at the end of a system?
So: Sood idea. The glyph should be settable, preferrably.
> 5) 8ve and 8vb brackets. Similar to (1), but I think this is more than
> just typesetting. If I specify "8ve mode on", then I would enter notes
> as usual, but those notes will get translated an octave down with a 8ve
> bracket above them.
I think there has been a discussion of this. Anyway, on the input side,
it should look similar to \transpose { }.
> 6) Text boxes attached to a note. Pretty much like textscripts, but
> they could be wrapped around an (in)visible rectangular box. Further,
> music notations could be written in it, e.g. Andante (<quarter note> =
> 52). I don't know TeX very much, so I don't feel comfortable inserting
> lots of TeX commands while worrying if they would break lily.
In 1.3.34, multiple-line text boxes were introduced:
a-"This is a\nthree line\nbox"
expect no smart wrapping or alternate alignment any time soon.
> 6.1) Text boxes at arbitrary locations. =)
Have you seen input/test/generic-output-property.ly? You can use that
to displace certain texts. For more text, maybe you should embed your
.ly in a document, have a look at mudela-book, look for .doc extension.
> 7) Start/End of hairpins. Very often do I see hairpins that end at a
> bar line. Currently, lily doesn't allow this. I may approximate this
> by s3.... \< \! s(infinitely small), but it's kludgy. If I extending
> the hairpin over the bar line, then the small part of the haripin that
> is on the right of the bar line would appear on the next system if the
> system breaks on that bar line.
I see your problem, but I don't feel that these hairpins stop 'at a
barline' but rather 'at the end of the sounding note'.
I think this is a sort of bug in the current implementation. Hairpins
should always extend to the end of a note, but this is currently
difficult to do/implement for a crescendo that spans the duration of
just one note. This would mean that start and stop have to be at
the same note: eg the 'a' here:
\!a\< b
We'll have to think about this one.
> 8) Word extension in lyrics mode. How do you do the following in lily?
>
> s2 ~ s8 s8 s8 s8
> How______ to do this?
>
> There is no way (I think) to notate s2~s8 using <note><dots> notation.
Don't understand this one.
>
> 9) Word wrap on instrument names, e.g. "Piano (for rehearsal only)". By
See 6)
> the way, how to you enter the name "Piano" so that the word is aligned
> with the middle of a brace bracket?
Now possible, but rather clumsy. Have a look at this one:
\version "1.3.36";
\score
{
\context StaffGroup = a <
\context PianoStaff = b <
\context Staff = "c" \notes\relative c'' { b4 b \bar "empty"; \break b b }
\context Staff = "d" \notes\relative c'' { b4 b b b }
>
>
\paper {
indent=100.0\mm;
linewidth=150.0\mm;
\translator {
\StaffContext
\consists "Staff_margin_engraver";
numberOfStaffLines = #1
marginScriptPadding = #30 % urg: this is in PT
instrument = #"Foo"
instr = #"Bar"
}
\translator {
\StaffGroupContext
\consists "Staff_margin_engraver";
marginScriptPadding = #10 % urg: this is in PT
instrument = #" \n \n \n \n \n \n \n \n \n \nPiano\n(For rehearsal only)"
}
}
}
> 10) I think \addlyrics is a great feature, but if the lyrics have
> melissma, then things would not line up right. Take the example in
> (8). \addlyrics would align the word "to" to the first s8, and
> everything onward would be shifted to the left by one note.
There's the property automaticMelismata: have a look at
input/test/lyrics-combine.ly
> 11) Notes without stems. Found in some Renaissance music, and sometimes
> music instruction books. Also, composers may use it for special
> treatment with phrases composed of those notes, e.g. arbitrary rhythm.
See previous post from yesterda/today + answer by Han-Wen.
> 12) Change of size of notes and noteheads. I may have <a4 f> and I want
> f to be optional. So I want to make the notehead of f smaller while
> keeping everything else the same. In another scenario, I may want to
> show two versions of a phrase, e.g.
>
> <\stemup d2 {\stemdown c4 d4}>
>
> and I would reduce the size of the notes (whole thing, not just
> noteheads) c4 and d4.
See input/test/staff-size.ly
> I think I will stop here before I get blacklisted. :P Thank you very
> much for your patience.
You're welcome.
Btw: It seems that quite a few questions you and other users are about
features and how to use them. Some of these are buried deep inside
some documentation, others only have a small test example in
input/test/*.ly and quite some are just undocumented.
We would very much appreciate it, if someone could help us
to provide with more effective or more complete documentation
on use of these features.
Greetings,
Jan.
--
Jan Nieuwenhuizen <[EMAIL PROTECTED]> | GNU LilyPond - The music typesetter
http://www.xs4all.nl/~jantien | http://www.lilypond.org
