Horizontal corrections in beamed notes ?
Hello, Does anybody know how to insert spacing corrections in beamed groups ? I.e. negative (printing them closer together) or positive (printing them further apart). TIA Cheers, -- Ryurick M. Hristev mailto:[EMAIL PROTECTED] Computer Systems Manager University of Canterbury, Physics Astronomy Dept., New Zealand ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: GrandStaff questions
Hi Fulko,
[snip]
At the moment I want to set a piece of music that has four melody
lines on two beams (treble and bass). The first melody (also on top),
is also the melody of the lyrics. I want the lyrics between the two
beams.
You probably mean staves not beams.
The problem I have is that the placement of the lyrics reacts to
melody One and Two on the treble-beam. I want the lyrics only react on
melody One. Can that be done?
The answer is the command \addlyrics. This command takes 2 args, a Voice context and
a Lyrics context and aligns the Lyrics context with the Voice context. I explained
this today in my message Re: general questions (28.02.2003 - 10:27:01) and gave an
example. I would like to ask you to look at that example, if you want it complete
How do I make TextA follow melodyA?
\addlyrics
\context Voice = soprano {\voiceOne \sopranoVoice}
\context Lyrics = bottom \sopranoLyrics
Note bottom as the keyword to typeset the lyric beneath the staff.
Is it possible to do the same with a TextB and melodyB?
analogous.
Is it possible to set (parts) of the lyrics in boldface?
never tried.
###ATTENTION: left comments in code!
[ all actual melodies and lyrics ]
\score {
\context GrandStaff \notes %you'd probably want a ChoirStaff here.
\simultaneous { %\spurious ;-)
\addlyrics %wrongly placed, goes directly before voice! Remove here.
\context Staff =upper
\clef treble
%\addlyrics
\context Voice=one {\voiceOne \melodyA}
%\context Lyrics=TextA \textA
\context Voice=two {\voiceTwo \melodyB}
\context Lyrics=TextA %remove
%all
\textA %this
%stuff
\context Staff =lower
\clef bass
\context Voice=three {\voiceOne \melodyC}
\context Voice=four {\voiceTwo \melodyD}
}
}
Thank a lot,
You're welcome.
Amy
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Re: Upgrading
Mats Bengtsson scripsit:
You have to explicitly create separate Voice contexts for each
line of music. Now, both sobran and alt end up in the same context
and the \voiceTwo command overrides the \voiceOne command.
\notes
\context Voice=sopran {\voiceOne \sopran }
\context Voice=alt {\voiceTwo \alt }
Thanks a lot, it works. I only wonder, why all these features had to be
altered from the older to the newer version (in the older version my original
source worked well).
Now, I have met the next problem: In the \cadenzaOn mode, the new version of
LilyPond seems to omit all bars (usually, also such pieces have some bars,
e.g. at the end of the line), and does not break lines, even if I explicitely
use the \break command. (The both features have worked under the older
version and none of them both has been changed by convert-ly).
Sincerely
Milan Horak
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Re: Upgrading
David Boersma scripsit:
Now the Soprano and Alto are in the same Voice context. The \voiceOne and
\voiceTwo macros changes properties of this context. Apparently the
\voiceTwo macro is processed after the \voiceOne, so those settings
overwrite immediately those of voiceOne.
...
\context Staff
\context Voice=Tweeter \notes {\voiceOne \sopran }
\context Voice=SubTweeter \notes {\voiceTwo \alt }
Thanks a lot, it works well. In the older version, my original source worked
well and convert-ly running does not altered it. That is why I did not
understood why it does not work now.
Sincerely
Milan Horak
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Re: 1.7.12: Multiple marks?
[EMAIL PROTECTED] writes:
(Still on 7.1.12 - Suse 8.0)
I tried the suggestion - works well for note-attached markup, but I can not get it
to work for rehearsal marks.
this works over here. Please send a bug report if you can't get it
working:
global = \notes {
s1 | \mark A
s1 | \mark \default
s1 | \mark \default
s1 | \mark 12
s1 | \mark \default
s1 | \mark A2
s1 | \mark \markup { foo \column bar bla }
s1
}
one = \notes \relative c {
c''1 c c c c c c
}
\score{
\context Staff \global \one
}
--
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Re: caesura
On Sat, 01 Mar 2003 01:01:02 +0100 Han-Wen Nienhuys [EMAIL PROTECTED] wrote: [EMAIL PROTECTED] writes: \property Voice.TextScript \override #'extra-offset = #'(-6.0 . -3.0) \time 4/4 c'\pp^\fermata^#arco ais'\mp^\fermata r2 | \property Voice.TextScript \revert #'extra-offset \once \property Voice.TextScript \override #'extra-offset = #'(-6.0 . -3.0) IIRC the \once property was introduced after I wrote the piece -- I wrote it for music theory a year ago. But thanks for reminding me about \once. :) As for the caesura, I think the proper solution is to add the character to the font, and use it with BreathMark (syntax: \breathe). From what I gather, the symbol is not complicated, so it should be easy. Probably. Unfortuntely, I don't have an example of it handy (most of the time the conductor just tells us to put it in there, so I make two angled slashed in the music in my messy handwriting :) , and I'm not at all familiar with fonts. Paul, do you have an example you could scan in or something? BTW, you do know that we have a breath mark that looks like little tick ( ie. ' ) through the top staffline. Would that satisfy Paul? I use \breathe quite often, but that's not quite what Paul is after. Imagine this: the whole orchestra is playing fast 16th notes, fortissimo, with an accel. The music builds up -- and then suddenly stops, leaving a few beats of silence before something else happens. That's the kind of place this symbol is used for (sometimes called railroad tracks). It's not a breath mark that's used to aid in phrasing a lyrical melody; it's a sudden, complete, and perhaps unexpected stop. I think it's used more often in musical theatre than in symphonic music. Cheers, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Offset in line numbers when report errors (lilypond 1.7.13) ?
[EMAIL PROTECTED] writes:
No, I think it's a real bug.
Consider this:
\score{\notes{
c4 c c c c | c c c c c | c c
}}
We should get bar check error in line 1, right?
-
/home/gperciva/tmp/foo.ly:0:12: warning: barcheck failed at: 1/4:
c4 c c c c |
c c c c c | c c
I think this bug was recently fixed. Which 1.6 do you have ?
The original questioner was right, the way errors are reported in 1.6
is off. Sometimes, the parser looks ahead to determine what a phrase
means, so often you get errors the wrong location. The approach in 1.6
reports the previous token, which is confusing if it is at the end of
the line, and the error is on the next line. I reverted this
particular issue in 1.7 CVS
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Re: Offset in line numbers when report errors (lilypond 1.7.13) ?
On Sat, 01 Mar 2003 01:17:44 +0100 Han-Wen Nienhuys [EMAIL PROTECTED] wrote: [EMAIL PROTECTED] writes: No, I think it's a real bug. I think this bug was recently fixed. Which 1.6 do you have ? Oops. I'm still at 1.6.6. I definately shouldn't be sending or confirming bug reports. :) Cheers, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: MusicXML
On Fri, 2003-02-28 at 15:36, Han-Wen Nienhuys wrote: [EMAIL PROTECTED] writes: Is there any chance Lilypond will ever be able to take MusicXML as input? How hard would it be, and how would it fit into lilypond's architecture? I've written a MusicXML to Lilypond converter, it is at http://www.nongnu.org/xml2ly. I'm sure you've put a lot of thought and effort into this converter, but my feeling is that as long as this kind of transcoding is external to lily, MusicXML users will be second-class citizens. Some things will work, some things won't. Perhaps an unspoken part of my question was do the lilypond developers care to support this format? Really supporting the format would mean more than finding the closest mudela equivalent for every MusicXML directive. There is no good technical reason to read MusicXML directly into lilypond, so I prefer to keep it outside. An explanation for why you say this would be an answer to my original question. As for the lilypond developers opinion: I've personally spent a lot of time writing convertors (etf2ly, pmx2ly, musedata2ly, etc.) only to find out that noone uses them. Would you use a compiler that required you to first run your source file through an external program that translates your program into a different language with vastly different semantics? Would you feel that you can count on every construct in the target language being translated correctly? Even assuming this translation can happen in a robust way, in this case the target language (mudela) is changing all the time; what if the converter becomes unmaintained? It will no longer be usable. Surely you can appreciate the different between native support and support that requires an external converter. It seems that supporting this format would benefit everyone involved. MusicXML is neither a particularly advanced or complicated format. Why don't you try implementing support yourself and scratch your own itch? I was thinking about trying sometime, but I didn't know how it would fit architecturally into lily; I posted my question hoping to gain this information. I really have no idea how lilypond is put together (even though I have used it some, and contributed two scores to the mutopia project). I am especially unclear on the division between TeX, C++, and Guile. I was hoping to find out if lily's architecture would make it easy to write another language front-end or not. Josh ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
