getting tuplets using midi2ly
Hi, I'm managing converting a *.midi to a *-midi.ly *-midi is stored in C:\...\Lilypond\usr\bin. It contains a lot of triplets (f8 g a) Purpose is: avoid manualy modifying the *-midi.ly code to get all of the triplets! No answer found in the forums about the use of convert-ly Environment: is Lilypond 2.10.33 running on win XP. _ 1.using midi2ly_ typingC:\...\bin\midi2ly --key=2 --allow-tuplet=8*2/3 *.midi produces *-midi.lywhich version is given to be 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfshows the correct notes pitches (quite all 4-th) but without any triplet nor 8-th; *-midi-logrecommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) **this will part of another post** _2.questions:_ - How could I get the tuplets? - Have I missed something? Thanks for answering! Charlie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
convert-ly seems not working
Hi, I'm managing converting a *-midi.ly from 2.7.18 to 2.10.33 *-midi.ly is stored in C:\...\Lilypond\usr\bin. No answer found in the forums about the use of convert-ly Environment: is Lilypond 2.10.33 running on win XP. Formerly produced files *-midi.pdf, *-midi.ps and *-midi.log are erased. _1. using convert-ly:_ typingC:\...\bin\convert-ly --from=2.7.18 --to=2.10.33 *-midi.ly produces (?) *-midi.lywhich version remains 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfwith unchanged scores *-midi-logno important error but again recommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) _2.questions:_ - Have I missed something? - I wonder which syntax to be used fot specifying the --from and --to version: --help shows 2 possibilities as in ... convert-ly --from=2.5.10 --to 2.10.33 foo.ly example given Thanks for answering! Charlie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Old Bass Clef
Ledocq-Boccart wrote: By the way...what are these skills precisely? The Feta font has been made in METAFONT. See the .mf-files in the source. http://metafont.tutorial.free.fr/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Marks under the staff
francisco,
On Feb 17, 2008, at 9:18 PM, Francisco Vila wrote:
is there a proper way to place a given \mark such as segue coro,
DS.al fine etc under the staff, and right-aligned to the final
barline?
Doesn't it work if you just \override the direction property?
The problem is to have them UNDER the staff system. Sorry if it is too
naive but I'm stuck with this.
that is what graham was suggesting. try the following snippet. all of
this information can be found in the NM, section 1.8.1.4 (Text Marks),
redirected from section1.2.5.4 (Rehearsal Marks) with the reference
Common Tweaks. From there you can access the internal properties of
RehearsalMark, which shows you the property #'direction, taking the
values #UP, #CENTER or #DOWN.
dsalf = {
\once \override Score.RehearsalMark #'break-visibility = #begin-of-
line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #right
%% THIS IS THE PROPERTY GRAHAM MENTIONED:
\once \override Score.RehearsalMark #' direction = #DOWN
\mark D.S. al Fine
}
\relative c'{
c d e f
\bar ||
\mark Fine
g a h c
\bar |.
\dsalf
}
hth,
sb
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Doing \score { ...... } and \context Staff .... in scheme?
Reinhold Kainhofer wrote:
...
Also, how can I create a staff in scheme? A staff is no music expression, is
it?
Finally a question I can answer, or rather that LilyPond can answer for you.
Just use the \displayMusic function. For example, run LilyPond on the
following
example and look at the printouts at the command line:
\displayMusic \new Staff{}
/Mats
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature as fraction: gap between numerator and denominator
It sounds as if you have stumbled across some font related bug. See the section on Time Signature in the manual, for an example of what layout LilyPond should give. What LilyPond version and what operating system do you use? Werner wrote: Hello, I used 4/4 instead of C via \override Staff.TimeSignature #'style = #'() but the cyphers were huge. So I added \override Staff.TimeSignature #'font-size = #-2 But while the cyphers now are smaller, the numerator-4 stands still very close on the top of the denominator-4 without any gap, both together in the (vertical) middle of the stave. I would prefer both ciphers (vertically) centered in the upper and lower half of the stave respectively (means the numerator between the third and fifth line of the stave, the denominator between the first and third line) by default. Is there any solution? Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = 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: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with several parts, movements
Reinhold Kainhofer wrote:
My other problem comes from
the fact that if I give multiple piece names in the \header section, only
the last one is printed for all of them.
You need to add a separate score for each piece, and in each of these scores,
you can set the piece to something separate...
I guess what Rheinhold intended to say was that the piece has to be
specified in
a \header block that's included in the corresponding \score block, i.e.
\score{
{... the music ...}
\header{piece = Presto }
}
/Mats
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: info about controlling direciton / placement
Graham Percival wrote: The advanced term is grobs, but I'd rather avoid that here. For some reason I prefer controlling direction instead of controlling placement, although I can't give any reason for this. I'm not fully convinced that everybody will understand what directions refers to (can't a conductor give directions, for example?). I don't have a really good suggestion though, but if the title explicitly includes the words above and below or up and down, then I guess there won't be any risk of misunderstandings. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fermata
Reinhold Kainhofer wrote: Am Freitag, 15. Februar 2008 schrieb Victoria: Is there a way to do a fermata? I've spent upwards of 2 hours looking in the tutorial and just can't find it, if it's there. http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Articulations Also, if you had looked in the LilyPond index, which is the index of the manual, you would have found it immediately. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: convert-ly seems not working
Ledocq-Boccart wrote: Hi, I'm managing converting a *-midi.ly from 2.7.18 to 2.10.33 *-midi.ly is stored in C:\...\Lilypond\usr\bin. It's not a good idea to use this folder as your working directory! Please see http://lists.gnu.org/archive/html/lilypond-user/2007-01/msg00038.html for an example of how to use convert-ly. No answer found in the forums about the use of convert-ly Where did you look? Environment: is Lilypond 2.10.33 running on win XP. Formerly produced files *-midi.pdf, *-midi.ps and *-midi.log are erased. _1. using convert-ly:_ typingC:\...\bin\convert-ly --from=2.7.18 --to=2.10.33 *-midi.ly There's no need to specify the full path, see the link above. produces (?) *-midi.lywhich version remains 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfwith unchanged scores *-midi-logno important error but again recommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) _2.questions:_ - Have I missed something? Don't forget the flag -e if you want the changes to be done on the file. This is shown on the first lines in the section on convert-ly in the manual. - I wonder which syntax to be used fot specifying the --from and --to version: --help shows 2 possibilities as in ... convert-ly --from=2.5.10 --to 2.10.33 foo.ly example given The best is to always have a \version statement in the .ly file. Then, there's no need to manually specify the --from and -too. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting tuplets using midi2ly
Don't have too high expectations on what midi2ly can do with the rhythm. As far as I know, it will only work reasonably well with MIDI files generated from other notation programs. /Mats Ledocq-Boccart wrote: Hi, I'm managing converting a *.midi to a *-midi.ly *-midi is stored in C:\...\Lilypond\usr\bin. It contains a lot of triplets (f8 g a) Purpose is: avoid manualy modifying the *-midi.ly code to get all of the triplets! No answer found in the forums about the use of convert-ly Environment: is Lilypond 2.10.33 running on win XP. _ 1.using midi2ly_ typingC:\...\bin\midi2ly --key=2 --allow-tuplet=8*2/3 *.midi produces *-midi.lywhich version is given to be 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfshows the correct notes pitches (quite all 4-th) but without any triplet nor 8-th; *-midi-logrecommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) **this will part of another post** _2.questions:_ - How could I get the tuplets? - Have I missed something? Thanks for answering! Charlie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = 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: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use? (redux)
Simon Dahlbacka wrote: FWIW, it seems that Finnish is the only? language that includes the note/rest part. (http://kainhofer.com/~lilypond/Documentation/user/music-glossary/Duration-names-notes-and-rests.html#Duration-names-notes-and-rests http://kainhofer.com/%7Elilypond/Documentation/user/music-glossary/Duration-names-notes-and-rests.html#Duration-names-notes-and-rests) And the swedish name for 128th would be hundratjugoåttondel and 256th tvåhundrafemtiosjättedel Right, so similarly to Danish, for example, words for the corresponding note and rest is: 128th rest: hundratjugoåttondelspaus 128th note: hundratjugoåttondelsnot 256th rest: tvåhundrafemtiosjättedelspaus 256th note: tvåhundrafemtiosjättedelsnot For the question about playing in a different octave, the verb is oktavera in Swedish. I'm not sure how I would express myself if I wanted a music typesetter to use a ottava bracket in the notation. /Mats /Simon 2008/2/18, Kurt Kroon [EMAIL PROTECTED] mailto:[EMAIL PROTECTED]: On 2/17/08 1:09 PM, Risto Vääräniemi [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] wrote: ... More stuff: Quarter notes and rests seem to be named as neljännesosanuotti and neljännesosatauko in the glossary. They are understandable but more common words are neljäsosanuotti and neljäsosatauko. Common as in: * Any Finnish person would understand immediately? or * Any Finnish _musician_ would understand immediately? I'm aiming for the second case -- a musically correct name, but if the Finn on the street can puzzle it out as a special use of ordinal numbers (which is how it looks to me, but that's only a guess because I don't speak Finnish), so much the better. More or less the same goes for 32th notes and rests. I don't think the names in the glossary are really used. I think it would be more proper to use kolmaskymmeneskahdesosanuotti (32-osanuotti, 1/32-osanuotti) for the 32th note and kolmaskymmeneskahdesosatauko (32-osatauko, 1/32-osatauko) for the 32th rest. ... Odd ... they're in the table under Duration names notes and rests, but not under the individual entry in the Glossary. It looks like I have more cleanup to do. Thanks! Kurt ___ lilypond-user mailing list lilypond-user@gnu.org mailto:lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = 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: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Marks under the staff
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 18. Februar 2008 schrieb Simon Bailey: that is what graham was suggesting. try the following snippet. all of this information can be found in the NM, section 1.8.1.4 (Text Marks), redirected from section1.2.5.4 (Rehearsal Marks) with the reference Common Tweaks. From there you can access the internal properties of RehearsalMark, which shows you the property #'direction, taking the values #UP, #CENTER or #DOWN. Can you also submit that snippet at the LSR to answer that question in the future with a simple link to the LSR? CThanks, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFHuXHaTqjEwhXvPN0RAltpAJ4/MUK/6UE+AR5T+MzSY/4tfOPHQACgyZ7N UBhusK7u0O7ndXTEtgegcaU= =1H3S -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: info about controlling direciton / placement
Hi all, The advanced term is grobs, but I'd rather avoid that here. For some reason I prefer controlling direction instead of controlling placement, although I can't give any reason for this. I'm not fully convinced that everybody will understand what directions refers to (can't a conductor give directions, for example?). What about controlling position? HTH, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Marks under the staff
Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 18. Februar 2008 schrieb Simon Bailey: that is what graham was suggesting. try the following snippet. all of this information can be found in the NM, section 1.8.1.4 (Text Marks), redirected from section1.2.5.4 (Rehearsal Marks) with the reference Common Tweaks. From there you can access the internal properties of RehearsalMark, which shows you the property #'direction, taking the values #UP, #CENTER or #DOWN. Can you also submit that snippet at the LSR to answer that question in the future with a simple link to the LSR? I hope you realize that it's an impossible task to include a snippet for every possible property setting. I admit that this one isn't too exotic, though. See http://lists.gnu.org/archive/html/lilypond-user/2008-02/msg00397.html with follow-ups for a closely related discussion. One detail about this specific setting. If you have a score with multiple staves, then the mark will only be shown below the bottom stave. If you want it above/below every stave, please read about Text marks in the manual. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:GDP: What term do you use?
Kurt - If I were actually speaking with another violinist about an actual piece of music, I'd most likely say something like, It's an ottava passage. If I got a blank stare, I'd probably add something like, You play the music an octave higher (lower) than it's written. If I were looking up how to write such a passage in LilyPond, I would look first under ottava, and if I didn't find what I wanted, I'd start looking under octav . . .. Peace, Ralph + Ralph Palmer, CEM Energy/Administrative Coordinator Keene State College Keene, NH 03435-2502 Phone: 603-358-2230 Cell: 603-209-2903 Fax: 603-358-2456 [EMAIL PROTECTED] Kurt Kroon wrote: I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. Here's the scenario: You've written a composition with a passage that needs to be played in a different octave. When you describe it (this passage) to another musician, what term do you use? And do you use the same term or a different one for the actual _process of writing_ the passage in a different octave (if you even bother to name the process)? Since this will go into the glossary, please respond with the preferred term in any of these languages: Danish Dutch English Finnish French German Italian Spanish Swedish Thanks! Kurtis PS: Internally, LilyPond calls this octavation ... which I only included because I couldn't think of a better term. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
Damian leGassick damianlegassick at mac.com writes:
\version 2.11.38
{bes'! b'!}
is what i want except for the flat needs to be moved to the left
(it's a pain, but the 'two-stave' or 'forked stem' solutions aren't
appropriate here)
Sorry, I absolutely cannot imagine, what you want.
The natural-sign between the bes (left) and the b (right), 'right? But to keep a
chord it seems (for me) to be necessary to fork the stem in that case.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Montag, 18. Februar 2008 schrieb Werner:
Damian leGassick damianlegassick at mac.com writes:
\version 2.11.38
{bes'! b'!}
is what i want except for the flat needs to be moved to the left
(it's a pain, but the 'two-stave' or 'forked stem' solutions aren't
appropriate here)
Sorry, I absolutely cannot imagine, what you want.
If you look at the output of {bes'! b'!}, you'll see that the natural and
the flag sign are printed at the exact same position. He simply wants to
shift the flat sign before the natural sign.
Unfortunately,
{\once \override Accidental #'extra-offset = #'(-2.0 . 0) bes'! b'!}
moves both accidentals. The questions is, how can one shift only one
accidental from a chord?
Moving the override inside the chord, i.e.
{bes'! \once \override Accidental #'extra-offset = #'(-2.0 . 0) b'!}
does not work...
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung Jung-Wien, http://www.jung-wien.at/
-BEGIN PGP SIGNATURE-
Version: GnuPG v1.4.6 (GNU/Linux)
iD8DBQFHuZ2qTqjEwhXvPN0RArdrAJ40nF+B8UK/S1tYMSH6OYdVHgS7pgCgjHxn
I3wI9r6rRorE/DEI/E1Ofu4=
=sg37
-END PGP SIGNATURE-
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Two simultaneous staffs partially ina score.
Hello: I am typing a viola score aboyt 500 bars long? This score has 2 short stretches were 2 bars appear foe the divisi to play ( the top in alto and the bottom in treble and viceversa. How do I make this happen without calling for another full, empty staff for most of the way? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two simultaneous staffs partially ina score.
Look for ossia in the LilyPond index, i.e. the index of the manual. /Mats Rafael A Gonzalez wrote: Hello: I am typing a viola score aboyt 500 bars long? This score has 2 short stretches were 2 bars appear foe the divisi to play ( the top in alto and the bottom in treble and viceversa. How do I make this happen without calling for another full, empty staff for most of the way? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = 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: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
Hi Damian,
Just to confirm... are you looking for
\version 2.11.38
{ \set Staff.extraNatural = ##t beses' bes' }
i.e., to correct a previous accidental on the same note in the same bar?
If not, please give a good reason for having both accidentals but no
split stem, so we can better help you get Lilypond to do what you
want.
Cheers,
Kieren.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
Hi Damian, it's for a webern reduction - so changing the b-flat to a-sharp isn't really an option A-ha! Then how about \once \override Accidental #'restore-first = ##t b' bes'! HTH, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
Kieren MacMillan wrote:
Hi Damian,
Just to confirm... are you looking for
\version 2.11.38
{ \set Staff.extraNatural = ##t beses' bes' }
i.e., to correct a previous accidental on the same note in the same bar?
If not, please give a good reason for having both accidentals but no
split stem, so we can better help you get Lilypond to do what you want.
My impression is that he wants something like
\version 2.10.0
naturalplusflat = \markup { \natural \flat }
{
\once \override Accidental #'stencil =
#ly:text-interface::print
\once \override Accidental #'text = #naturalplusflat
\once \override Score.AccidentalPlacement #'right-padding = #1.5
b' bes'
}
Since b bes gives you two note heads, it's not completely impossible
for the
musician to interpret this as a chord with a b natural and a b flat, but
the
natural could also be interpreted as just a cancellation of a previous
accidental.
One layout option that is less ambiguous is to have a split stem, which
unfortunately
isn't supported in LilyPond today, even though
http://lists.gnu.org/archive/html/lilypond-user/2008-01/msg00208.html
gives something in that direction.
/Mats
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
almost! if i could get the flat and the natural round the other way... as it is, it implies 2 x b-flat after (say) a b-sharp (which is not unlikely in this context) thanks though - it's a useful function that i'd not noticed before d On 18 Feb 2008, at 17:00, Kieren MacMillan wrote: Hi Damian, it's for a webern reduction - so changing the b-flat to a-sharp isn't really an option A-ha! Then how about \once \override Accidental #'restore-first = ##t b' bes'! HTH, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
hi kieren
what i need is this:
\version 2.11.38
{
\override Stem #'transparent = ##t
d'! ees'bes' b'!
}
to become:
inline: chord.jpg
which is a standard way to show that both b-flat and b-natural are
simultaneous
it's for a webern reduction - so changing the b-flat to a-sharp isn't
really an option
the issue has come up a few times on the list - how to move the
accidental of just one note within a chord
i know how to fake it - i was just wondering if there was a simpler
tweak
cheers
d
On 18 Feb 2008, at 16:26, Kieren MacMillan wrote:
Hi Damian,
Just to confirm... are you looking for
\version 2.11.38
{ \set Staff.extraNatural = ##t beses' bes' }
i.e., to correct a previous accidental on the same note in the same
bar?
If not, please give a good reason for having both accidentals but no
split stem, so we can better help you get Lilypond to do what you
want.
Cheers,
Kieren.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting tuplets using midi2ly
Thanks Mats! I have made some trials with various options settings: and I got something I could start with making manual corrections. I do not understand the effect of options like: --explicit-duration --start-quant=DURI did not see much effect --duration-quant=DUR With DUR=16 I get something acceptable (triplet of 8th are rendered as triplet of 16th , while--allow-tuplet=8*2/3); if DUR=8 notes of triplet are rendered as 4th. Best regards Charlie Mats Bengtsson a écrit : Don't have too high expectations on what midi2ly can do with the rhythm. As far as I know, it will only work reasonably well with MIDI files generated from other notation programs. /Mats Ledocq-Boccart wrote: Hi, I'm managing converting a *.midi to a *-midi.ly *-midi is stored in C:\...\Lilypond\usr\bin. It contains a lot of triplets (f8 g a) Purpose is: avoid manualy modifying the *-midi.ly code to get all of the triplets! No answer found in the forums about the use of convert-ly Environment: is Lilypond 2.10.33 running on win XP. _ 1.using midi2ly_ typingC:\...\bin\midi2ly --key=2 --allow-tuplet=8*2/3 *.midi produces *-midi.lywhich version is given to be 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfshows the correct notes pitches (quite all 4-th) but without any triplet nor 8-th; *-midi-logrecommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) **this will part of another post** _2.questions:_ - How could I get the tuplets? - Have I missed something? Thanks for answering! Charlie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: info about controlling direciton / placement
On Mon, 18 Feb 2008 07:26:25 -0500
Kieren MacMillan [EMAIL PROTECTED] wrote:
Hi all,
The advanced term is grobs, but I'd rather avoid that here. For
some reason I prefer controlling direction instead of
controlling placement, although I can't give any reason for this.
I'm not fully convinced that everybody will understand what
directions
refers to (can't a conductor give directions, for example?).
What about controlling position?
If there's consensus about this, I'm happy with that.
The original title was Up and down, but I thought that was silly.
Calling it Controlling vertical {direction/position} might be
possible, but then it seems to exclude setting the horizontal
position... although there are very few such cases. (maybe fingering?)
Cheers,
- Graham
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
thanks mats
changing your markup to \markup {\flat \natural } gives me what i want
now i just need to bring the two accidentals closer together
cheers
d
On 18 Feb 2008, at 17:06, Mats Bengtsson wrote:
Kieren MacMillan wrote:
Hi Damian,
Just to confirm... are you looking for
\version 2.11.38
{ \set Staff.extraNatural = ##t beses' bes' }
i.e., to correct a previous accidental on the same note in the same
bar?
If not, please give a good reason for having both accidentals but
no split stem, so we can better help you get Lilypond to do what
you want.
My impression is that he wants something like
\version 2.10.0
naturalplusflat = \markup { \natural \flat }
{
\once \override Accidental #'stencil =
#ly:text-interface::print
\once \override Accidental #'text = #naturalplusflat
\once \override Score.AccidentalPlacement #'right-padding = #1.5
b' bes'
}
Since b bes gives you two note heads, it's not completely
impossible for the
musician to interpret this as a chord with a b natural and a b flat,
but the
natural could also be interpreted as just a cancellation of a
previous accidental.
One layout option that is less ambiguous is to have a split stem,
which unfortunately
isn't supported in LilyPond today, even though
http://lists.gnu.org/archive/html/lilypond-user/2008-01/msg00208.html
gives something in that direction.
/Mats
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: GDP: info about controlling direciton / placement
Since the section is going to describe the use of the
'direction property, why not call it that?
Choose one of:
Direction property
The direction property
Use of the direction property
As its use is so diverse we can't hope to capture all of
them in the heading.
Trevor D
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Graham Percival
Sent: 18 February 2008 17:42
To: Kieren MacMillan
Cc: lilypond-user@gnu.org; Mats Bengtsson
Subject: Re: GDP: info about controlling
direciton / placement
On Mon, 18 Feb 2008 07:26:25 -0500
Kieren MacMillan [EMAIL PROTECTED] wrote:
Hi all,
The advanced term is grobs, but I'd rather
avoid that here. For
some reason I prefer controlling direction
instead of
controlling placement, although I can't
give any reason for this.
I'm not fully convinced that everybody will
understand what
directions
refers to (can't a conductor give directions,
for example?).
What about controlling position?
If there's consensus about this, I'm happy with that.
The original title was Up and down, but I
thought that was silly.
Calling it Controlling vertical
{direction/position} might be
possible, but then it seems to exclude setting
the horizontal
position... although there are very few such
cases. (maybe fingering?)
Cheers,
- Graham
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: info about controlling direciton / placement
2008/2/18, Graham Percival [EMAIL PROTECTED]:
What about controlling position?
If there's consensus about this, I'm happy with that.
The original title was Up and down, but I thought that was silly.
Calling it Controlling vertical {direction/position} might be
possible, but then it seems to exclude setting the horizontal
position... although there are very few such cases. (maybe fingering?)
For me, the word direction does not include issues such as
right-aligning or above/below positions of elements. Direction seems
to indicate an inherent movement, left-to-right, upwards, and so on.
--
Francisco Vila. Badajoz (Spain)
http://www.paconet.org
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: info about controlling direciton / placement
Well, it's not *primarily* about the direction property. It's
primarily about
^ _ -
\fooUp \fooDown \fooNeutral
We'll mention #'direction as an afterthought.
Cheers,
- Graham
On Mon, 18 Feb 2008 18:14:07 -
Trevor Daniels [EMAIL PROTECTED] wrote:
Since the section is going to describe the use of the
'direction property, why not call it that?
Choose one of:
Direction property
The direction property
Use of the direction property
As its use is so diverse we can't hope to capture all of
them in the heading.
Trevor D
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Graham Percival
Sent: 18 February 2008 17:42
To: Kieren MacMillan
Cc: lilypond-user@gnu.org; Mats Bengtsson
Subject: Re: GDP: info about controlling
direciton / placement
On Mon, 18 Feb 2008 07:26:25 -0500
Kieren MacMillan [EMAIL PROTECTED] wrote:
Hi all,
The advanced term is grobs, but I'd rather
avoid that here. For
some reason I prefer controlling direction
instead of
controlling placement, although I can't
give any reason for this.
I'm not fully convinced that everybody will
understand what
directions
refers to (can't a conductor give directions,
for example?).
What about controlling position?
If there's consensus about this, I'm happy with that.
The original title was Up and down, but I
thought that was silly.
Calling it Controlling vertical
{direction/position} might be
possible, but then it seems to exclude setting
the horizontal
position... although there are very few such
cases. (maybe fingering?)
Cheers,
- Graham
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature as fraction: gap between numerator and denominator - solution
Mats wrote:
I believe the LilyPond default layout agrees well with common
typesetting standard. However, LilyPond is a very flexible tool so
you can get another layout if you prefer. One method is to use the
trick described in Polymetric notation as a starting point, which
could result in something like
\version 2.10.33
% Markup to produce a 4/4 time signature that works with smaller
digits. tsMarkup = \markup {
\vcenter \override #'(baseline-skip . 2) \number {
\column { 4 4 }
}
}
\relative c' {
\clef G
\key g \major
% 4/4 statt C
\override Staff.TimeSignature #'stencil =
#ly:text-interface::print
\override Staff.TimeSignature #'text = #tsMarkup
\override Staff.TimeSignature #'font-size = #-2
\time 4/4
\partial 8 d'8 | % Auftakt
}
/Mats
Hello Mats,
your solution ist really great, thank you very much.
Of course with font-size -1 (I put -2 just to show better the difference).
(My opinion: That should be default layout.)
Yours
Werner
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Doing \score { ...... } and \context Staff .... in scheme?
Le 18 févr. 08 à 00:17, Reinhold Kainhofer a écrit :
Am Sonntag, 17. Februar 2008 schrieb Han-Wen Nienhuys:
2008/2/13, Reinhold Kainhofer [EMAIL PROTECTED]:
In particular, what is the scheme equivalent, producing the same
as the
following lilypond code?
IChorObIScore = \score {
\IChorObIStaff
\header { piece = \IChorPieceName }
}
You have to use the scheme bindings. There is a ly:make-score
function.
Thanks for the hint... Works so far (see attached example).
However, how can I define a function so that instead of scheme, i.e.
\score { #(createscore test) }
i can simply do:
% This does NOT work (syntax error)
\score { \createscore #test}
or even better:
\createscore #test
Now that this works more or less, how can I set 'header:piece only
for this
score? I tried ly:prob-set-property! and ly:context-set-property!, but
neither works. Which type of object is a score?
A score is a Score :-)
Have you considered using a toplevel markup instead of
\header { piece = ... }?
Then, if you don't need to specify a custom \layout block for your
generated score (which would need to explicitely create a score),
defining a score can be as easy as writing:
\generateScore Some title { ..some music.. }
Example:
generateScore =
#(define-music-function (parser location title music)
(string? ly:music?)
;; add a toplevel markup for the piece title
(collect-scores-for-book parser
(list (markup #:huge #:fill-line (title
;; no page break between the title and the score
(collect-music-for-book parser
(make-music 'Music
'page-marker #t
'page-break-permission 'forbid))
;; the score music itself
music)
\generateScore The title { c'4 d' e' f' g'1 }
This adds a top-level markup, a top-level noPageBreak between the
title and the music, and a toplevel music expression, which is used
to automatically create a score. The staff is automatically
created too. (Lots of automatically. Lily rocks.)
2.11.40 adds a ly:score-add-output-def function that will
allow you define a piece of music
What exactly does that do? There's no description, and the only use
is in the
incipit example inside a lambda function used as a stencil
definition. That's
wa above my head with regards to lilypond internals.
It programmaticaly attaches a \layout block to a score. That way,
you can change, say, the indentation, or the ragged-right property
of a programmaticaly generated score.
nicolas
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
space system problem
Hi,
Here is the first paragraph of my piece describing the great Three Gorges on
Yantze River. But the log file said tried to space systems on bad number of
pages. What does it mean?
Haipeng
\version 2.11.37
#(set-default-paper-size a4)
\header {
tagline = ##f
title = \markup { \bold Rhapsody--Kuei }
subtitle = \markup \center-align { \fontsize #1 For Large Orchestra and Chorus }
composer = \markup \center-align { \fontsize #3 \bold Hu Haipeng \small (1984) }
copyright = © 2008, All Rights Reserved
}
mute = \set Staff.midiInstrument = muted trumpet
open = \set Staff.midiInstrument = trumpet
pizz = \set Staff.midiInstrument = pizzicato strings
arco = \set Staff.midiInstrument = string ensemble 1
tempoA = \tempo 4=52
tempoB = \tempo 2=60
toptextA = \markup { \bold \italic Adagio }
rit = \markup { \bold \italic Rit. }
toptextC = \markup { \bold risoluto }
str = { \change Staff = rh }
stl = { \change Staff = lh }
flutes = \relative c''' {
\clef treble \key f \minor \time 4/4
R1*7^\toptextA |
R1\mark \default | \time 3/2 r2 aes f c8\mp f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8 f des aes4. ~ f des aes4 r |
\time 4/4 R1*5 |
\time 3/2 r2 aes' f c8\ff f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8 f des aes4. ~ f des aes2 |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*8 | \time 3/2 R1.^\rit \bar ||
}
oboes = \relative c''' {
\clef treble \key f \minor \time 4/4 \tempoA
R1*7^\toptextA |
R1 | \time 3/2 r2 aes f c8\mp f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8\mp f des aes4. ~ f des aes4 r |
\time 4/4 R1*5 |
\time 3/2 r2 aes f c8\ff f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8 f des aes4. ~ f des aes2 |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*8 |
\time 3/2 aes f c8\ppp^\rit f c aes4. ~ f c aes4 r4 r2 \bar ||
}
clarinets = \relative c' {
\clef treble \key g \minor \time 4/4 \tempoA
\transposition bes
R1*7^\toptextA |
R1 | \time 3/2 R1. |
\time 4/4 R1 | \clef bass \time 3/2 r1 bes g ees2\p |
\time 4/4 d a f d bes g ~ |
d bes g~ ees c g\cresc |
f d~ a g d bes |
g ees c f d a\endcresc |
g d bes1\f ~ | \time 3/2 g d bes1. |
\time 4/4 g d bes1 | \time 3/2 g ees bes1. |
{ \time 4/4 f d1 | \time 3/2 d2 ees d } \\
{ \voiceThree bes2 a | bes g1 a f2 }
|
\oneVoice d bes g1\mf | g d bes |
ees c g\ | d~ bes f~2\!\ d a f |
d bes g2\!\p r | R1 |
R1 | R1 | \time 3/2 R1.^\rit \bar ||
}
bassoons = \relative c, {
\clef bass \key f \minor \time 4/4 \tempoA
R1*7^\toptextA |
R1 | \time 3/2 R1. |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*3 | r2 c c'\mp\ |
f c'1\f ~ | \time 3/2 f c'1. |
\time 4/4 f c'1 | \time 3/2 des des'1. |
\time 4/4 aes'4.^a2 bes8 c2 | \time 3/2 f4 ees des2 c |
\time 4/4 f1\mf | ees |
des1\ | aes4.\!\ bes8 c2 |
f,2\!\p r2 | R1*3 | \time 3/2 R1.^\rit \bar ||
}
hornI = \relative c''' {
\clef treble \key c \minor \time 4/4 \tempoA
\transposition f
R1*7^\toptextA |
g4\p^\markup { \column { \italic tranquillo \smaller a2 } } c, ees2 | \time 3/2 f16 ees c4. ~ c1 |
\time 4/4 g'4 c, ees2 | \time 3/2 f16 ees c4. ~ c2. r4 |
\time 4/4 R1 |
r2 r8 c,8\(\mp\cresc ees f |
g bes4 g16 bes c8 ees4 c16 ees |
f8 c ees f g4 bes,\)\endcresc |
c g1\f ~ | \time 3/2 c g1. |
\time 4/4 c g1 | \time 3/2 c aes1. |
\time 4/4 bes g1 | \time 3/2 c~ g2 c aes bes g4 g d8 bes g |
\time 4/4 c g1\mf | ees c |
f c\ | ees bes2\!\ bes g |
c g2\!\p r | R1 |
g'4\pp^\markup { \column { \bold \italic tranquillo \italic mute \smaller a2 } } c, ees2 | f16 ees c4. ~ c2 | \time 3/2 R1.^\rit \bar ||
}
hornII = \relative c'' {
\clef treble \key c \minor \time 4/4 \tempoA
\transposition f
R1*7^\toptextA |
ees c4\p^\markup { \italic tranquillo } g, ees c g2 | \time 3/2 c g8 g ees4. ~ g ees1 |
\time 4/4 ees' c4 g, ees c g2 | \time 3/2 c aes8 aes ees4. ~ aes ees2. r4 |
\time 4/4 R1 |
r2 r4 ees c\p\cresc |
d bes4. g d8 g ees4. c g8 |
c aes2 d bes4 g, d\endcresc |
ees c1\f ~ | \time 3/2 ees c1. |
\time 4/4 ees c1 | \time 3/2 ees c1. |
\time 4/4 ees bes2 d bes | \time 3/2 ees c1 d bes4 bes g8 d bes |
\time 4/4 ees c1\mf | g ees |
aes f\ | g ees2\!\ d bes |
ees c2\!\p r2 | R1 |
ees' c4\pp^\markup { \bold \italic tranquillo \italic mute } aes, ees c aes2 | c aes8 aes ees4. ~ aes ees2 r2 \bar ||
}
trumpets = \relative c'' {
\clef treble \key g \minor \time 4/4 \tempoA
\transposition bes
R1*7^\toptextA |
R1 | \time 3/2 R1. |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*4 |
d d,4\ff^I II_III g, g, bes bes,2 | \time 3/2 c c,16 bes bes, g g,4. ~ g g,2. r4 |
\time 4/4 d' d, g, g, bes bes,2 | \time 3/2 c c,16 bes bes, g g,4. ~ g g,2. r4 |
\time 4/4 R1 | \time 3/2
Re: space system problem
On Feb 18, 2008, at 5:17 PM, hhpmusic wrote: Hi, Here is the first paragraph of my piece describing the great Three Gorges on Yantze River. But the log file said tried to space systems on bad number of pages. What does it mean? Haipeng Haipeng- I just processed your file using Lilypond 2.11.39. There were no problems reported and the pdf looks fine. Stan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
what does adorn mean in this context? GDP
I'm working on the balloon section of Editorial and in that section is this statement There are two music functions, balloonGrobText and balloonText; the former takes the name of the grob to adorn, while the latter may be used as an articulation on a note. The other arguments are the offset and the text of the label. the words after the semicolon (;) look like they make sense but adorn and articulation don't really make sense to a common English reader (me) can someone explain what is meant here so I can translate it into something I might understand? Thanks Yours- Jay Jay Hamilton www.soundand.com 206-328-7694 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Doing \score { ...... } and \context Staff .... in scheme?
2008/2/17, Reinhold Kainhofer [EMAIL PROTECTED]:
Thanks for the hint... Works so far (see attached example).
However, how can I define a function so that instead of scheme, i.e.
\score { #(createscore test) }
i can simply do:
% This does NOT work (syntax error)
\score { \createscore #test}
or even better:
\createscore #test
that's not possible, afaics, but you can have
#(createscore test)
at toplevel.
check out
toplevel-score-handler
in ly/declarations-init.ly; this shows how to schedule a \score object
for typesetting.
Now that this works more or less, how can I set 'header:piece only for this
score? I tried ly:prob-set-property! and ly:context-set-property!, but
neither works. Which type of object is a score?
It's a scheme module. I think we lack the bindings to set or read the
one in the \score block from scheme. I'll add some for .41 - when the
bindings are there, it would be
(define header-object (ly:score-header score))
(module-set! header-object 'piece blah)
2.11.40 adds a ly:score-add-output-def function that will
allow you define a piece of music
What exactly does that do? There's no description, and the only use is in the
incipit example inside a lambda function used as a stencil definition. That's
wa above my head with regards to lilypond internals.
Sorry, I messed up the explanation. You can set the \layout block
with this function, which may be useful if you want to set custom
margins programmatically for some reason. Not sure if you need it.
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Several issues transcribing ancient notation (clefs, noteheads, spacing)
2008/2/12, till [EMAIL PROTECTED]:
2. There is a lot of threads here on the list. You can play with all sorts
of spacing but nothing is yet really convincing. The most simple workaround
appears to be to scale all note durations to a singe duration, eg. 1/8,
which can be achieved by appending the note duration: a\breve*1/8 will give
a breve that takes only the space of 1/8. It should be possible to write a
scheme expression that does this automatically, but I don't know how.
This is very badly tested, but
\header {
texidoc =
In packed mode, pack notes as tight as possible. This makes
sense mostly in combination with raggedright mode: the notes
are then printed at minimum distance. This is mostly useful
for ancient notation, but may also be useful for some flavours
of contemporary music. If not in raggedright mode, lily will
pack as much bars of music as possible into a line, but the
line will then be stretched to fill the whole linewidth.
}
\version 2.11.40
\layout {
ragged-right = ##t
}
\relative {
\override Score.SpacingSpanner #'packed-spacing = ##t
c2 d4 f8[ g]
}
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Line breaking within ligature brackets
I'm pretty sure this is already allowed. Maybe you have misalignment of a rhythm somewhere? Can you post a bugreport? 2008/1/23, Greg Swinford [EMAIL PROTECTED]: Is it possible to allow line breaking during ligatures (or at least ligature brackets) as it is with horizontal (analysis) brackets? -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Error trapping \chordmode in LP 2.11.37 for Windows
2008/1/30, Risto Vääräniemi [EMAIL PROTECTED]: On Jan 30, 2008 11:19 AM, Valentin Villenave wrote: There's a much simpler solution: I could just make a patch against lilypond's GUB NSIS script to call lilypond instead of lilypond-windows when double-clicking on a .ly file. Why are there two executables anyway? Do they perform different things or are they sort of equivalent but they are used in different contexts. It's because of the way that DOS/windows handles stdout output. For the double-click behavior (create logfiles), we don't want to flash cmd.exe windows. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting tuplets using midi2ly
Hi, Where can I find explanations about the effect of the options of midi2ly.py? What is quantize? What is the effect of explicit durations? etc... I mean I would like to understand the link between the options and its action on the structure of a midi file. As yet I feel to cut and try without understanding. Best regards Charlie Ledocq-Boccart a écrit : Thanks Mats! I have made some trials with various options settings: and I got something I could start with making manual corrections. I do not understand the effect of options like: --explicit-duration --start-quant=DURI did not see much effect --duration-quant=DUR With DUR=16 I get something acceptable (triplet of 8th are rendered as triplet of 16th , while--allow-tuplet=8*2/3); if DUR=8 notes of triplet are rendered as 4th. Best regards Charlie Mats Bengtsson a écrit : Don't have too high expectations on what midi2ly can do with the rhythm. As far as I know, it will only work reasonably well with MIDI files generated from other notation programs. /Mats Ledocq-Boccart wrote: Hi, I'm managing converting a *.midi to a *-midi.ly *-midi is stored in C:\...\Lilypond\usr\bin. It contains a lot of triplets (f8 g a) Purpose is: avoid manualy modifying the *-midi.ly code to get all of the triplets! No answer found in the forums about the use of convert-ly Environment: is Lilypond 2.10.33 running on win XP. _ 1.using midi2ly_ typingC:\...\bin\midi2ly --key=2 --allow-tuplet=8*2/3 *.midi produces *-midi.lywhich version is given to be 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfshows the correct notes pitches (quite all 4-th) but without any triplet nor 8-th; *-midi-logrecommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) **this will part of another post** _2.questions:_ - How could I get the tuplets? - Have I missed something? Thanks for answering! Charlie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fixed, tight staff spacing
Hello, In Lilypond 2.10.33, I want to have four staves per system, connected by a piano-style brace, with exactly enough space for two ledger lines between the upper two staves, one ledger line between the middle two staves, and two ledger lines between the lower two staves. (Measured from center line to center line, that works out to 7, 6, and 7 staff spaces, respectively.) I tried the various methods described in section 11.4 of the manual (with and without PianoStaff), but I couldn't get the staves tight enough. (There are some notes which are supposed to overlap or collide with the staves above/ below.) It seems the only option left is 11.4.4 Explicit staff and system positioning, but I don't want to specify the position of each new system, just the amount of space between the staves within a system -- and this spacing should apply to every system throughout the score. Any suggestions? Thanks in advance, Marcus Macauley ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
