Re: How to recognize Voice-continuation?
Thomas Morley thomasmorley65 at gmail.com writes:
Any chance to have LilyPond identify the second voice-b as a
continuation of the first?
This seems to be analogous to the way we need to keep the staff alive
when we temporarily leave a staff empty in piano music.
\new Staff
\new Voice = a \with { \override NoteHead #'color = #green }
s1*4
\new Voice =b \with { \override NoteHead #'color = #red }
s1*4
\relative c' {
\context Voice = a
{ \set tieWaitForNote = ##t c1~ }
\context Voice = b
{ \set tieWaitForNote = ##t cis4 d dis e^~ }
\context Voice = a
{ d2 c2 }
\context Voice = b
{ f4 e fis g }
\context Voice = a
{ e1 }
}
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Re: How to enter explicit voices for use in Staff and TabStaff?
Thomas Morley thomasmorley65 at gmail.com writes:
Or any chance to get a neutral 'Bottom-context for use with LilyPond-syntax?
We have close, with
mus = \relative c'' {
\context Bottom = 1 { \voiceOne c4 r c r }
\context Bottom = 2 { \voiceTwo r a r a}
}
\new Staff \clef G_8 \mus
\new TabStaff \mus
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Re: Note whiteout
Am 27.03.2015 um 05:28 schrieb Andrew Bernard:
Well, answering my own question here. The following works, but now I
feel the need to ask is the best way to do this sort of operation?
Yes, I think so. Why wouldn’t layer = 3 or = 2 suffice for
LedgerLineSpanner also?
Yours, Simon
\version 2.19.17
treble = \relative c'' {
\override Stem.layer = #3
e'
\change Staff = bass
\override NoteHead.layer = #3
e g,-\markup {
\with-dimensions #'(0 . 3) #'(0 . 0)
\with-color #white
\filled-box #'(-1 . 2.5) #'(3 . 7) #0
}
\change Staff = treble
g'' c
c1
}
bass = \relative c {
\clef bass
c, f c,1 ~
c f c,
}
\score {
\new PianoStaff
\new Staff = treble \with {
}
{ \treble }
\new Staff = bass \with {
\override LedgerLineSpanner.layer = #10
}
{ \bass }
\layout { }
}
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Re: How to enter explicit voices for use in Staff and TabStaff?
2015-03-27 7:05 GMT+01:00 Keith OHara k-ohara5...@oco.net:
Thomas Morley thomasmorley65 at gmail.com writes:
Or any chance to get a neutral 'Bottom-context for use with LilyPond-syntax?
We have close, with
mus = \relative c'' {
\context Bottom = 1 { \voiceOne c4 r c r }
\context Bottom = 2 { \voiceTwo r a r a}
}
\new Staff \clef G_8 \mus
\new TabStaff \mus
Hi Keith,
in one of my own attempts I tried (the not working code):
\relative c'' {
\new Bottom { \voiceOne c4 r c r }
\new Bottom { \voiceTwo r a r a }
Obviously the command has to be \context and the Bottom-contexts have
to be named.
I wasn't aware of the possibility you demonstrated.
Thanks a lot,
Harm
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Re: How to recognize Voice-continuation?
2015-03-27 7:07 GMT+01:00 Keith OHara k-ohara5...@oco.net:
Thomas Morley thomasmorley65 at gmail.com writes:
Any chance to have LilyPond identify the second voice-b as a
continuation of the first?
This seems to be analogous to the way we need to keep the staff alive
when we temporarily leave a staff empty in piano music.
\new Staff
\new Voice = a \with { \override NoteHead #'color = #green }
s1*4
\new Voice =b \with { \override NoteHead #'color = #red }
s1*4
\relative c' {
\context Voice = a
{ \set tieWaitForNote = ##t c1~ }
\context Voice = b
{ \set tieWaitForNote = ##t cis4 d dis e^~ }
\context Voice = a
{ d2 c2 }
\context Voice = b
{ f4 e fis g }
\context Voice = a
{ e1 }
}
Hi Keith,
I completely forgot about this possibilty and couldn't find it in the
docs during a quick search.
Where is it mentioned (I know I've seen it somewhere in the past)?
Again, thanks a lot,
Harm
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Line number corresponding to warning
Working on a very complex score, suddenly I have: warning: omitting tuplet bracket with neither left nor right bound How do I find out the line number that is generating this? Verbose output does not help. Thanks. Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: NoteColumn.force-hshift doesn't work on 2nd beat but works on others??
Steve,
1. Remember that the { } \\ { } ... syntax automatically
(implicitly)
applies \voiceXXX in ascending order.
Yes, but I like explicitly stating some of the defaults..
2. Putting notes in proper voices usually eliminates any need to manually
specify \stemUp and \stemDown, note\rest, etc.
There is another voice I left out. sonote\rest is neccessary to
avoid that collision.
3. Here's how I would re-code your score, if I understand your intentions:
It doesn't solve the problem of moving the 8th note to make room
for the
rest. The rest can't be up where it is by default. It will clash with the
upper voice
which I left out to simplify the example...
So how can I move the note to the left if
NoteColumn.force-hshift
doesn't work? And why doesn't it.
Here is a cleaner example
\version 2.18.2
voiceone = \relative c' {
\voiceOne
\clef G_8
\time 4/4
\key c \major
g4
\once \override Rest #'extra-offset = #'(1.6 . 0.6 )
g16\rest g8.^~ g2 |
}
voicetwo = \relative c' {
\voiceTwo
s4
\once \override NoteColumn.force-hshift = #-1.0 % doesn't work
g8 fis~
% \once \override NoteColumn.force-hshift = #1.0 % works
fis2 |
}
voicethree = \relative c' {
\voiceThree
}
voicefour = \relative c {
\voiceFour
c1
}
guitar = \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour
\score { \new Staff \guitar }
% - SNIP -
\version 2.18.2
voiceone = \relative c' {
\clef G_8
\time 4/4
\key c \major
g4 r16 g8. ~ g2 |
}
voicetwo = \relative c' {
s4 g8 fis ~ fis2 |
}
voicethree = \relative c' {
}
voicefour = \relative c {
c1 |
}
guitar =
\voiceone \\
\voicetwo \\
\voicethree \\
\voicefour
\score { \new Staff \guitar }
% - SNIP -
Regards,
Abraham
On Thu, Mar 26, 2015 at 2:55 PM, steve-166 [via Lilypond]
ml-node+s1069038n173722...@n5.nabble.com wrote:
Howdy!
For some reason this doesn't work as expected.
\once \override NoteColumn.force-hshift
works fine in voiceTwo on beats 1 and 3 but not on beat 2?
I need more space around the rest.
http://www.gooeytar.com/projects/test/test.ly
http://www.gooeytar.com/projects/test/test.pdf
ideas? - steve
\version 2.18.2
voiceone = \relative c' {
\voiceOne
\clef G_8
\time 4/4
\key c \major
s4
\once \override Rest #'extra-offset = #'(1.6 . 0.6 )
g16\rest g8.^~ g2 |
}
voicetwo = \relative c' {
\voiceTwo
%\once \override NoteColumn.force-hshift = #-1.0 % works
\stemUp
g4
\stemDown
\once \override NoteColumn.force-hshift = #-1.0 % doesn't work
g8 fis~
%g4
% \once \override NoteColumn.force-hshift = #1.0 % works
fis2 |
}
voicethree = \relative c' {
\voiceThree
}
voicefour = \relative c {
\voiceFour
c1
}
guitar = \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour
\score { \new Staff \guitar }
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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18
Peter Bjuhr wrote On 2015-03-23 18:37, SoundsFromSound wrote: Hi all, I also am having quite a headache installing the new Frescobaldi 2.18 and python-ly on my friend's laptop. It's a new, clean install on Debian and I left all install locations as their default. I am getting the same error, saying python-ly is not found/up-to-date so Frescobaldi can't even open. Can you please tell me how I can fix this and get the application up and running? I tried removing all traces of Frescobaldi and then installing them to a different location, and still the same error. I've always had success updating Frescobaldi but 2.18 is the first time I've had such trouble. I'm certain it's to do with the python-ly install but I can't figure out why no matter where or how I install it, it fails. Thank you so much for any help! Hi Ben! Could you describe more in detail what steps you took to install Python-ly and Frescobaldi? Best Peter ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user Peter, I installed Frescobaldi by running the sudo python setup.py as mentioned in the included install file. I installed Python-ly similarly, with python setup.py install. All defaults left as-is, in a clean Linux install. Nothing works at this time, error message is persistent each time I attempt to run Frescobaldi. Not sure what to do now. Thank you! - composer | sound designer LilyPond Tutorials (for beginners) -- http://bit.ly/bcl-lilypond -- View this message in context: http://lilypond.1069038.n5.nabble.com/ANN-Frescobaldi-2-18-tp172767p173761.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
Reading a directory
Hi, I think this should be easy, but I don't find it in the Guile reference. I want a list of filenames in a given directory, what os.listdir(dirname) would give me in Python. What should I use? TIA Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reading a directory
Am Freitag, 27. März 2015 18:19 CET, Mattes r...@mh-freiburg.de schrieb: you need the opendir-readdir-closedir combo: (let ((dir (opendir /etc/))) (readdir dir) . (closedir dir)) Or use (ice-9 ftw) RalfD HTH RalfD TIA Urs ___ 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
Re: Reading a directory
On Fri, Mar 27, 2015 at 12:19 PM, Mattes r...@mh-freiburg.de wrote: Am Freitag, 27. März 2015 18:14 CET, Urs Liska u...@openlilylib.org schrieb: Hi, I think this should be easy, but I don't find it in the Guile reference. I want a list of filenames in a given directory, what os.listdir(dirname) would give me in Python. What should I use? Hi Urs, you need the opendir-readdir-closedir combo: (let ((dir (opendir /etc/))) (readdir dir) . (closedir dir)) HTH RalfD This is pretty well hidden in the 1.8 manual. I found opendir in the procedure index under its C name: scm_opendir. Here's the page with related stuff: http://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/File-System.html#index-scm_005freaddir-3063 DN ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reading a directory
Am Freitag, 27. März 2015 18:14 CET, Urs Liska u...@openlilylib.org schrieb: Hi, I think this should be easy, but I don't find it in the Guile reference. I want a list of filenames in a given directory, what os.listdir(dirname) would give me in Python. What should I use? Hi Urs, you need the opendir-readdir-closedir combo: (let ((dir (opendir /etc/))) (readdir dir) . (closedir dir)) HTH RalfD TIA Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to recognize Voice-continuation?
The e will come after the last tied note, so it looks like it's working as
expected.
- Abraham
Sent from my iPhone
On Mar 27, 2015, at 9:23 AM, Patrick Karl [via Lilypond]
ml-node+s1069038n173764...@n5.nabble.com wrote:
Message: 1
Date: Fri, 27 Mar 2015 02:26:32 +0100
From: Thomas Morley [hidden email]
Subject: How to recognize Voice-continuation?
consider the (artificial) code below.
In my naivity I expected that voice-b would be recognized as it works
for voice-a
I.e. the three triggering features (tieWaitForNote, NoteHead.colors
and assigned Lyrics) would work for the second appearance of voice-b.
Any chance to have LilyPond identify the second voice-b as a
continuation of the first?
\version 2.19.17
lyrI =
\lyricmode { one two three }
lyrII =
\lyricmode { a b c d e f g h i j k l m n o p }
\new Staff
\relative c' {
\new Voice = a
\with { \override NoteHead #'color = #green }
{ \set tieWaitForNote = ##t c1~ }
\new Voice = b
\with { \override NoteHead #'color = #red }
{ \set tieWaitForNote = ##t cis4 d dis e~ }
\context Voice = a
{ d2 c2 }
\context Voice = b
{ f4 e fis g }
\context Voice = a
{ e1 }
}
\new Lyrics \lyricsto a \lyrI
\new Lyrics \lyricsto b \lyrII
I'm sure you have a good reason to write it that way, but why not do:
\version 2.19.17
lyrI =
\lyricmode { one two }
lyrII =
\lyricmode { a b c d e f }
\new Staff
\relative c' {
\new Voice = a
\with { \override NoteHead #'color = #green }
{ \set tieWaitForNote = ##t c1~ s1 d2 c s1 e }
\new Voice = b
\with { \override NoteHead #'color = #red }
{ \set tieWaitForNote = ##t s1 cis4 d dis \tieUp e~ s1 f4 e fis g }
}
\new Lyrics \lyricsto a \lyrI
\new Lyrics \lyricsto b \lyrII
which gives:
But that result does seem to raise another question. Are the lyrics assigned
correctly to the notes? Shouldn't the first note in measure 4 get the e?
BTW, Keith's solution results in the same lyrics assignment as the one above.
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Re: How to recognize Voice-continuation?
Message: 1
Date: Fri, 27 Mar 2015 02:26:32 +0100
From: Thomas Morley thomasmorle...@gmail.com
Subject: How to recognize Voice-continuation?
consider the (artificial) code below.
In my naivity I expected that voice-b would be recognized as it works
for voice-a
I.e. the three triggering features (tieWaitForNote, NoteHead.colors
and assigned Lyrics) would work for the second appearance of voice-b.
Any chance to have LilyPond identify the second voice-b as a
continuation of the first?
\version 2.19.17
lyrI =
\lyricmode { one two three }
lyrII =
\lyricmode { a b c d e f g h i j k l m n o p }
\new Staff
\relative c' {
\new Voice = a
\with { \override NoteHead #'color = #green }
{ \set tieWaitForNote = ##t c1~ }
\new Voice = b
\with { \override NoteHead #'color = #red }
{ \set tieWaitForNote = ##t cis4 d dis e~ }
\context Voice = a
{ d2 c2 }
\context Voice = b
{ f4 e fis g }
\context Voice = a
{ e1 }
}
\new Lyrics \lyricsto a \lyrI
\new Lyrics \lyricsto b \lyrII
I'm sure you have a good reason to write it that way, but why not do:
\version 2.19.17
lyrI =
\lyricmode { one two }
lyrII =
\lyricmode { a b c d e f }
\new Staff
\relative c' {
\new Voice = a
\with { \override NoteHead #'color = #green }
{ \set tieWaitForNote = ##t c1~ s1 d2 c s1 e }
\new Voice = b
\with { \override NoteHead #'color = #red }
{ \set tieWaitForNote = ##t s1 cis4 d dis \tieUp e~ s1 f4 e fis g }
}
\new Lyrics \lyricsto a \lyrI
\new Lyrics \lyricsto b \lyrII
which gives:
But that result does seem to raise another question. Are the lyrics assigned
correctly to the notes? Shouldn't the first note in measure 4 get the e?
BTW, Keith's solution results in the same lyrics assignment as the one above.
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Proposal for change to arabic.ly
In the manual, for the section on Arabic music, I read that
The symbol for semi-flat does not match the symbol which is used in Arabic
notation... The appearance of the semi-flat symbol in the key signature
cannot be altered by using this [the \dwn command] method.
However, I have found a way without using the \dwn command, which changes
all the semiflat symbols to the flat with slash symbol, while retaining
the correct pitches (unlike \dwn) and changing the key signature symbol as
well.
Therefore, I would like to propose the following change (add the following
code to the beginning of the file):
arabicGlyphs = #`((1 . accidentals.doublesharp)
(3/4 . accidentals.sharp.slashslash.stemstemstem)
(1/2 . accidentals.sharp)
(1/4 . accidentals.sharp.slashslash.stem)
(0 . accidentals.natural)
(-1/4 . accidentals.flat.slash)
(-1/2 . accidentals.flat)
(-3/4 . accidentals.flatflat.slash) %unattested but this symbol is
used for compatibility
(-1 . accidentals.flatflat))
\layout {
\context {
\Score
\override KeySignature.glyph-name-alist = \arabicGlyphs
\override Accidental.glyph-name-alist = \arabicGlyphs
\override AccidentalCautionary.glyph-name-alist = \arabicGlyphs
\override TrillPitchAccidental.glyph-name-alist = \arabicGlyphs
\override AmbitusAccidental.glyph-name-alist = \arabicGlyphs
}
}
An overview of how it looks can be seen here:
http://s722.photobucket.com/user/Brian_Xuan-
Tong_Guo/media/flat_zpscmkfwvz6.png.html?sort=3o=0
(The top staff shows how it currently looks, while the bottom staff shows
how it will look if this proposal is accepted. The first note of each pair
shows an artificially-created semiflat by synthesizing a normal flat with a
\dwn stroke, while the second note shows how a normal semiflat would look.)
Thanks for your consideration.
Regards,
Brian
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Re: [LSR] Colored notes with black outlines (enhancement).
Hi Paul, 2015-03-26 23:43 GMT+01:00 Paul Morris p...@paulwmorris.com: Oh, well, I was thinking it could just be changed to 7 is a good default so it would match the new input scale. But of course (was I asleep?)!! Sorry for the misunderstanding. Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
accent diminuendo
when composers wanted to create an accent (before the notated accent
symbol) they used diminuendo over just one note. this however in Performing
practice leaves the question did they mean an accented note or a note that
quickly diminishes, or perhaps both. as performance practice becomes more
standard in score it seams common not to apply your own interpretation but
render the score as it was and add performance notes.
This is my preference.
a great book on the topic is Classical and Romantic Performing Practice
1750-1900
anyway a discussion on shortening the hairpin (March 19th) led me to
thinking maybe there is a better solution then i currently use.
my current workaround is
\new Dynamics {
\once \override Hairpin.X-offset = #.5
\once \override Hairpin.Y-offset = #5.35
s4*45/100\s\! s s s4
}
\relative c'' {{cis ais4 d b8 \slurDown fis16 (e)}\\{\stemDown
g,,8\rest e [e] g8\rest}
}
they where often notated center to center or center to end of note head.
The advantage of this way is I can adjust the hairpin length and position
to my liking.
any one have a better approach.
Thanks
Stephen
Oh my last posting rendering on linux vs windows was a \paper {} mistake
-- we both had different ones... oops.
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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18
Ben, The following python commands showed me where an unexpected ly module was being read: $ python import ly ly.__path__ ly.__file__ I suspect you will find similar results, i.e. an ly module on your path *before* the one created by Wilbert's python-ly. 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: accent diminuendo
Thank you very much Simon It gave some great ideas.
I do get
error: bad grob property path (parent-alignment-X)
accD = -\tweak self-alignment-X -1
\tweak parent-alignment-X -1
I think that's because I am using 2.18.2 anyway it still gives me something
to work with.
The BOOK? there are lots of books on the topic of performance/performing
practice. The one I gave was Clive Brown printed 1999. Oxford University
Press.
Anyway thanks
Stephen
On Fri, Mar 27, 2015 at 5:50 PM, Simon Albrecht simon.albre...@mail.de
wrote:
Hello Stephen,
how about the attached? I implemented it in two different ways: once as an
articulation, once as a dynamic script. You also see the line-widths of my
long-accent-markup and the default hairpin in comparison.
HTH, Simon
Am 27.03.2015 um 19:03 schrieb Stephen MacNeil:
when composers wanted to create an accent (before the notated accent
symbol) they used diminuendo over just one note. this however in Performing
practice leaves the question did they mean an accented note or a note that
quickly diminishes, or perhaps both. as performance practice becomes more
standard in score it seams common not to apply your own interpretation but
render the score as it was and add performance notes.
This is my preference.
a great book on the topic is Classical and Romantic Performing Practice
1750-1900
Interesting topic; by whom is the book? published when and where?
anyway a discussion on shortening the hairpin (March 19th) led me to
thinking maybe there is a better solution then i currently use.
my current workaround is
\new Dynamics {
\once \override Hairpin.X-offset = #.5
\once \override Hairpin.Y-offset = #5.35
s4*45/100\s\! s s s4
}
\relative c'' {{cis ais4 d b8 \slurDown fis16 (e)}\\{\stemDown
g,,8\rest e [e] g8\rest}
}
they where often notated center to center or center to end of note head.
The advantage of this way is I can adjust the hairpin length and position
to my liking.
any one have a better approach.
Thanks
Stephen
Oh my last posting rendering on linux vs windows was a \paper {}
mistake -- we both had different ones... oops.
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Upgrading
Hello everyone, I'm installing Lily Pond on my Windows machine now. Well trying to. I have an old version 2.12 installed here, I uninstalled it and try to install the latest stable release. However when I finish installation and run the example file, diversion statement says 2.12. Is there something wrong here? Am I doing something wrong? Thank you for any help Daniel Contreras ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: accent diminuendo
Am 27.03.2015 um 23:31 schrieb Stephen MacNeil: Thank you very much Simon It gave some great ideas. I do get error: bad grob property path (parent-alignment-X) accD = -\tweak self-alignment-X -1 \tweak parent-alignment-X -1 I think that's because I am using 2.18.2 Yes, this is a quite recent feature. anyway it still gives me something to work with. The BOOK? there are lots of books on the topic of performance/performing practice. The one I gave was Clive Brown printed 1999. Oxford University Press. Anyway thanks You’re welcome! Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: accent diminuendo
Hello Stephen,
how about the attached? I implemented it in two different ways: once as
an articulation, once as a dynamic script. You also see the line-widths
of my long-accent-markup and the default hairpin in comparison.
HTH, Simon
Am 27.03.2015 um 19:03 schrieb Stephen MacNeil:
when composers wanted to create an accent (before the notated accent
symbol) they used diminuendo over just one note. this however in
Performing practice leaves the question did they mean an accented note
or a note that quickly diminishes, or perhaps both. as performance
practice becomes more standard in score it seams common not to apply
your own interpretation but render the score as it was and add
performance notes.
This is my preference.
a great book on the topic is Classical and Romantic Performing
Practice 1750-1900
Interesting topic; by whom is the book? published when and where?
anyway a discussion on shortening the hairpin (March 19th) led me to
thinking maybe there is a better solution then i currently use.
my current workaround is
\new Dynamics {
\once \override Hairpin.X-offset = #.5
\once \override Hairpin.Y-offset = #5.35
s4*45/100\s\! s s s4
}
\relative c'' {{cis ais4 d b8 \slurDown fis16 (e)}\\{\stemDown
g,,8\rest e [e] g8\rest}
}
they where often notated center to center or center to end of note head.
The advantage of this way is I can adjust the hairpin length and
position to my liking.
any one have a better approach.
Thanks
Stephen
Oh my last posting rendering on linux vs windows was a \paper {}
mistake -- we both had different ones... oops.
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\version 2.19.17
#(ly:set-option 'point-and-click #f)
\paper { #(set-paper-size a8 'landscape) }
\header { tagline = ##f }
long-accent-markup = \markup { \scale #'(2 . 1)
\musicglyph #scripts.sforzato }
long-accent-stil =
#(lambda (grob)
(grob-interpret-markup grob long-accent-markup))
acc = -\tweak stencil #long-accent-stil \tweak self-alignment-X -1 -
accD = -\tweak self-alignment-X -1 \tweak parent-alignment-X -1
#(make-dynamic-script long-accent-markup)
{
\dynamicUp
c''2- c''\acc c'' { s4\ s\! }
c''2- c''\accD c'' { s4\ s\! }
}
long-accent.pdf
Description: Adobe PDF document
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Re: rest placement in multi-voice piano staff
Hi David,
I was wondering if anyone had a clue as to how to get the eighth rest in
voice three to be shown above the half note in voice four?
Yes: use Lilypond’s automatic voicing:
\new PianoStaff
\new Staff = upper
\new Voice = first { \voiceOne \pianoVoiceOne }
\new Voice = second { \voiceTwo \pianoVoiceTwo }
\new Staff = lower
\clef bass
\new Voice = third { \voiceOne \pianoVoiceThree }
\new Voice = fourth { \voiceTwo \pianoVoiceFour }
This may also allow you to reduce or totally avoid the use of \stemUp and
\stemDown (which are extremely rare in my scores, despite my heavy use of
polyphony).
Hope this helps!
Kieren.
Yes, very much thanks.
I had intended to use the automatic voicing, but somehow got the syntax
wrong.
Nor did I realize that for voices 3 and 4, you use \voiceOne and \voiceTwo.
That explains why I had to add lots of \stemUp and \stemDown commands.
I was expecting everything to just work, and was bummed that I had to deal
with lots of cases manually.
David Elaine Alt
415 . 341 .4954 *Confusion is
highly underrated*
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Automatic breaks not working?
I have a couple of files where Lilypond fails to wrap the score across
multiple lines, and instead cuts it off at the edge of the page. Most of
these are fairly large files, and it seems to happen consistently if there
are more staves than can fit vertically on the page.
What I did: I used lilypond to render the example at the bottom of this post.
What I expected: The score wraps to the next line after the sixth measure.
What happened: The score does not wrap, instead running off of the edge of
the page.
Sorry for the long example. Removing any more makes the issue less clear in
the output.
Example:
\version 2.16.2
\language english
\score {
\new Score
\new Staff {
r4
r16
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
r4..
c'16
}
\new Staff {
r1
r1
r1
r1
r16
a'8.
a'8.
a'8.
a'8.
a'8
d'16
d'16
d'8.
d'8.
f'8.
f'8.
f'8.
f'16
a'8.
a'8.
a'8.
a'8.
a'8.
}
\new Staff {
r1
r1
r1
r1
r1
r1
r1
r1
r1
r1
r1
r1
r16
d8
e8
a8
a,4.
d4.
c4.
f2
}
}
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Fw: \set Staff.printPartCombineTexts = ##f
Third try
On Friday, February 27, 2015 9:59 PM, MING TSANG tsan...@rogers.com
wrote:
On Wednesday, February 25, 2015 7:49 PM, MING TSANG tsan...@rogers.com
wrote:
Hi lilyponders,
\set Staff.printPartCombineTexts = ##f did not work. Is it the proper place to
put them? (line # 373) I have use extract-music to split the SA into soprano
and alto then combine them. Is this a proper way to do this?
Sorry I have to include extract-music.ly
Immanuel,Ming.
\version 2.19.15
\language english
\header {
title = ç¥å£ä¸çç¾ç¾
subtitle = Lamb On The Altar
composer = æ² : åä¸é³´
poet = è© : åæ¡æ
% Remove default LilyPond tagline
tagline = ##f
}
#(set-global-staff-size 17.0)
\paper {
#(set-paper-size letter)
}
\layout {
\context {
\Voice
\consists Melody_engraver
\override Stem #'neutral-direction = #'()
}
}
global = {
\key ef \major
\numericTimeSignature
\time 4/4
\tempo èå´å° 4=76
}
%\include include_extract-music.ly
%% LSR = http://lsr.dsi.unimi.it/LSR/Item?u=1id=761
%% LSR = http://lsr.dsi.unimi.it/LSR/Item?u=1id=545
%% for Lilypond 2.18 or higher.
%% version 2013/04/16 : last change = replace chord-elts-note
%% by chord-note. You can now specified several numbers, to
%% extract several notes at one time
#(define (noteEvent? music)
(eq? (ly:music-property music 'name) 'NoteEvent))
#(define (no-duration? music)
(not (ly:duration? (ly:music-property music 'duration
#(define (expand-q-chords music); for q chords : see chord-repetition-init.ly
(expand-repeat-chords! (list 'rhythmic-event) music))
%% extractNote %
#(define tagNotExtractNote (gensym))
#(use-modules (ice-9 receive)) %% for the use of receive
#(define (chord-note chord n . args)
Return the note n of one chord, keeping articulations.
Other numbers can be specified in args
(receive (notes others)
(partition noteEvent? (ly:music-property chord 'elements))
(if (null? notes)
chord
(let* ((len (length notes))
(res (filter-map
(lambda(i)
(and (integer? i)
(= i len)
( i 0)
(list-ref notes (1- i ; list-ref is zero-based
(cons n args)))
(one-note (cond
((null? res) (list-ref notes (1- len)))
((null? (cdr res))(car res))
(else #f
(if one-note
(begin
(ly:music-set-property! one-note 'articulations
(append (ly:music-property one-note 'articulations) others))
one-note)
(make-event-chord (append res others)))
#(define (extract-note music n . args)
Extract the note n of each chords in music, keeping articulations.
If other numbers are given in args, the function returns a chord build with all
matching notes. If no note matches, returns the last note of the chord.
(map-some-music
(lambda (evt)
(cond
((eq? 'EventChord (ly:music-property evt 'name))
(let ((tags (ly:music-property evt 'tags)))
(if (memq tagNotExtractNote tags)
(ly:music-set-property! evt 'tags ; only remove the tag
(delq tagNotExtractNote tags))
(set! evt (apply chord-note evt n args)))
evt))
(else (and (ly:music-property evt 'duration #f) evt
(expand-q-chords music)))
%% TO DO : add a parameter optional pred?
extractNote = #(define-music-function (parser location n music )
(number? ly:music?)
(extract-note music n))
% usefull for notExtractNote
tagify = #(define-music-function (parser location tag music)(symbol? ly:music?)
Add `tag in the tags property of all chords
(music-map
(lambda (evt)
(if (eq? 'EventChord (ly:music-property evt 'name))
(ly:music-set-property! evt 'tags
(cons tag (ly:music-property evt 'tags
evt)
music))
notExtractNote = #(define-music-function (parser location music)(ly:music?)
Avoids music to be extracted by \\extractNote.
#{
\tagify #tagNotExtractNote $music
#})
%% extractVoice %
#(define tagNotExtractVoice (gensym))
#(define (get-voice voices n)
(let ((len (length voices)))
(list-ref voices (1- ; list-ref is zero-based !
(if (and (= n len)( n 0)) n len)
#(define (extract-voice music n)
(let loop ((evt music))
(if (no-duration? evt) ; see chord.ly ; notes, rests multi-rests
(let ((e (ly:music-property evt 'element))
(es (ly:music-property evt 'elements)))
(if (ly:music? e)(ly:music-set-property! evt 'element (loop e)))
(if (pair? es)
(case (ly:music-property evt 'name)
((EventChord) evt)
((SimultaneousMusic)
(let ((tags (ly:music-property evt 'tags)))
Download link to current devel version
Is there a way to point links to the current development version download, i.e. a way to have a link in a program that automatically downloads the current version, without having to manually supply the version? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic breaks not working?
At 22:47 27/03/2015 +, A. Sentman wrote: I have a couple of files where Lilypond fails to wrap the score across multiple lines, and instead cuts it off at the edge of the page. Most of these are fairly large files, and it seems to happen consistently if there are more staves than can fit vertically on the page. What I did: I used lilypond to render the example at the bottom of this post. What I expected: The score wraps to the next line after the sixth measure. What happened: The score does not wrap, instead running off of the edge of the page. This is because your score makes no sense, I'm afraid. With a time signature of C, your second occurrence of r4.. in the top staff spans the line between the first and second bars. If I comment out the initial r4 and r16, in the top staff, the score breaks after bar 5 and again after bar 9. This may not be the music that you mean, but it illustrates the cause of the problem. The third staff then throws a similar problem in bar 13, where the d4. again spans the line between bars 13 and 14. Once you have a score that properly respects bar lines, the automatic line breaks will behave themselves. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rest placement in multi-voice piano staff
Hi David, I had intended to use the automatic voicing, but somehow got the syntax wrong. Nor did I realize that for voices 3 and 4, you use \voiceOne and \voiceTwo. That’s not exactly the way I would put it… What you call “voices 3 and 4” are actually voices 1 and 2 **in the lower staff**. If you have three or four actual different (polyphonic) voices in a single staff, then you would use \voiceThree and \voiceFour. In other words, each Staff context can have its own \voiceOne, \voiceTwo, etc. [Voice] contexts. That explains why I had to add lots of \stemUp and \stemDown commands. Yes. And with more complex scores, you’d have to add lots of other similar commands (e.g., \tieUp, \stemUp), all of which Lily handles automatically when you use the correct structure. Best regards, Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reading a directory
Hi David and Ralf, thank you for the hints. Actually readdir was where I'd already landed, but I hadn't got it to run. Now it's possible to do: \include openlilylib \useLibrary stylesheets \displayNotationFonts === Installed notation fonts: OpenType: - arnold - beethoven - cadence (no brace font) - emmentaler - gonville - gutenberg1939 - haydn - improviso - lilyboulez (no brace font) - lilyjazz - paganini (no brace font) - profondo - ross - scorlatti (no brace font) - sebastiano SVG: - beethoven - cadence (no brace font) - emmentaler - gonville - gutenberg1939 - haydn - improviso - lilyboulez (no brace font) - lilyjazz - paganini (no brace font) - profondo - ross - scorlatti (no brace font) - sebastiano :-) Best Urs Am 27.03.2015 um 18:32 schrieb David Nalesnik: On Fri, Mar 27, 2015 at 12:19 PM, Mattes r...@mh-freiburg.de mailto:r...@mh-freiburg.de wrote: Am Freitag, 27. März 2015 18:14 CET, Urs Liska u...@openlilylib.org mailto:u...@openlilylib.org schrieb: Hi, I think this should be easy, but I don't find it in the Guile reference. I want a list of filenames in a given directory, what os.listdir(dirname) would give me in Python. What should I use? Hi Urs, you need the opendir-readdir-closedir combo: (let ((dir (opendir /etc/))) (readdir dir) . (closedir dir)) HTH RalfD This is pretty well hidden in the 1.8 manual. I found opendir in the procedure index under its C name: scm_opendir. Here's the page with related stuff: http://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/File-System.html#index-scm_005freaddir-3063 DN ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
