Re: Jazz combo example?
On Sun, 18 Oct 2009, a...@spamcop.net wrote: On the topic of new examples, would a big band example help? It would be a copyright violation to use the whole piece, however this illustrates several of the issues peculiar to jazz combo music, most notably transposition, chord notation and comping: http://andrew.bromage.org/music/inthemood.pdf Looks nice. It does indeed shows nicely several things that a lilypond user could need in real life. Source code please, or at least a selection of the source code ? -- Martin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: two problems: vertical brackets and simultaneous voices
Arvid Grøtting wrote:
- Is there a (reliable) way of stacking the notes in the first chord
exactly as in the original? (I've played around with \voiceThree
etc and \shiftOnn, not quite getting it. Is extra-offset my only
hope here?)
hi!
this seems hard manual work - i've managed to reproduce the first 2 eighth
in the following manner (omitting dynamics and scripts):
voiceFive = #(context-spec-music (make-voice-props-set 5) 'Voice)
\context Staff \with {
\remove Time_signature_engraver
\remove Clef_engraver
}
{
\set Score.autoBeaming = ##f
\clef bass
\context Voice=1 \relative c {
\voiceOne
e 8 [ d' !]
}
\context Voice=2 \relative c {
\voiceTwo
e 4
}
\context Voice=3 \relative c {
\voiceThree
\once \override NoteColumn #'force-hshift = #1.
\override Stem #'length-fraction = #0.8
b 8 [ \shiftOff d ! ]
}
\context Voice=4 \relative c {
\voiceFour
\once \override NoteColumn #'force-hshift = #1.
b 4
}
\context Voice=5 \relative c {
\voiceFive \stemDown
\once \override NoteColumn #'force-hshift = #1.
e, 4
}
}
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Re: Jazz combo example?
On Sun, Oct 18, 2009 at 11:09:34PM -0400, a...@spamcop.net wrote: On the topic of new examples, would a big band example help? It would be a copyright violation to use the whole piece, however this illustrates several of the issues peculiar to jazz combo music, most notably transposition, chord notation and comping: I fear that if it's a copyright violation to use the whole piece, then it's probably a copyright violation to use a portion of it. In any case, I think the page already has enough examples, and big band is close enough to either the pop music or orchestral music example. Thanks for the offer, though! - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: orchestra/opera example
Hello, Hu Haipeng,
I'm always amazed at your scores! I'd like to use this for our
orchestral example. However, this particular page of examples
only contains very short snippets -- between 2 to 5 bars. The
idea is let new users get a quick idea of lilypond's output.
Would it be ok if we used bars 11 to 16 of this score? Also, do
you agree to place this exerpt under a permissive copyright
license (like Gnu FDL or Creative Commons) ?
Sorry, I can't help with the drums.
Cheers,
- Graham
On Sun, Oct 18, 2009 at 10:22:04AM +0800, 胡海鹏 - Hu Haipeng wrote:
Dear Valentin etc,
I'd like to contribute the first some bars of my Violent Dance. This is
not expected to be performed, so I think it will never be finished :-)
However, this is my first largely structred attempt after learning
orchestration. The score is somewhat interesting, with a title page and an
introduction (but I don't know whether they are good formatted). But the
last thing I'm wondering is , I compiled it two months ago, and the drum
could be heard. Now I use 2.13.4, and the drums become dumb. What's wrong?
Regards
Haipeng
--
\version 2.13.4
\header {
tagline = ##f
title = \markup { \bold \fontsize #4 Violent Dance For Orchestra }
composer = \markup { \bold \fontsize #3 Hu Haipeng }
}
\pageBreak
%% markups
#(define-markup-list-command (paragraph layout props args) (markup-list?)
(let ((indent (chain-assoc-get 'par-indent props 2)))
(interpret-markup-list layout props
(make-justified-lines-markup-list (cons (make-hspace-markup indent)
args)
#(define-markup-command (vspace layout props amount) (number?)
This produces a invisible object taking vertical space.
(let ((amount (* amount 3.0)))
(if ( amount 0)
(ly:make-stencil (cons -1 1) (cons 0 amount))
(ly:make-stencil (cons -1 1) (cons amount amount)
\markuplines { \column { \vspace #1 \fill-line { \bold \fontsize #3
Introduction } } \vspace #3
\paragraph {
I'm writing this piece because I'm terribly frustrated, facing a task
which will seriously stain my aesthetics and conviction to the true art.
It consists of all kinds of devils, dancing and whirling violently,
turning the world into an abyss of darkness. Although the main melodies
are derived from folk music, these are only a beautiful skin, and the
essence of this piece is violent and evil, full of my 10 years' pain and
rage. It's a large volcano of my long repressed heart!
}
\vspace #2 \hspace #10
\fontsize #2 \bold July 5, 2009
}
\pageBreak
%% text defs
presto = \markup { \bold \italic Presto }
div = \markup { \bold Div. }
nondiv = \markup { \bold Non div. }
unis = \markup { \bold Unis. }
piz = \markup { \bold Pizz. }
arc = \markup { \bold Arco }
pizz = \set Staff.midiInstrument = pizzicato strings
arco = \set Staff.midiInstrument = string ensemble 1
pont = \markup { \bold \italic Sul ponticello }
naturale = \markup { \bold \italic Naturale }
moltocr = {
\set crescendoText = \markup { \italic Molto cresc. }
\set crescendoSpanner = #'text
\override DynamicTextSpanner #'style = #'dotted-line
}
offCr = {
\unset crescendoText
\unset crescendoSpanner
\revert DynamicTextSpanner #'style
}
%% Layout to produce piano dynamics context
\layout {
\context {
\type Engraver_group
\name Dynamics
\alias Voice
\consists Output_property_engraver
\consists Skip_event_swallow_translator
\consists Axis_group_engraver
\consists Piano_pedal_engraver
pedalSustainStrings = #'(Ped. *Ped. *)
pedalUnaCordaStrings = #'(una corda tre corde)
\consists Script_engraver
\consists New_dynamic_engraver
\consists Dynamic_align_engraver
\consists Text_engraver
\consists Text_spanner_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\override DynamicLineSpanner #'Y-offset = #0
\override TextScript #'font-size = #2
\override TextSpanner #'bound-details #'left #'stencil-align-dir-y =
#CENTER
\override TextScript #'font-shape = #'italic
\override TextSpanner #'breakable = ##t
\override DynamicLineSpanner #'breakable = ##t
\override DynamicTextSpanner #'breakable = ##t
}
\context {
\PianoStaff
\accepts Dynamics
}
\context {
\Voice
\override Glissando #'breakable = ##t
\override TextSpanner #'breakable = ##t
\override DynamicLineSpanner #'breakable = ##t
\override DynamicTextSpanner #'breakable = ##t
\override TrillSpanner #'breakable = ##t
}
}
%% layout to create orchestra staff group
%% with
Re: two problems: vertical brackets and simultaneous voices
And this is my attempt (see droeyende.ly).
For the alignment I used 2 force-hshift overrides (in voices 3 and 4).
You can certainly use arpeggioBracket here, but it is so inconvenient:
- put the Span_arpeggio_engraver in the right place
- turn on connectArpeggios
- apply arpeggioBracket only once
- give it a hidden note
- don't forget \arpeggio too
And then take care that the hidden note doesn't upset the whole applecart!
But this doesn't mean you have to resort to Postscript.
You can instead tweak the position(s) of a non-spanning arpeggio bracket.
The easyChBr function does this here.
Cheers,
Robin
\version 2.12.1
easyChBr = #(define-music-function (parser location grow) (number?)
;% easy chord bracket; extendable in one staff without connectArpeggios
#{ % apply in one voice, supplying growth parameter: + = up, - = down
\override Arpeggio #'stencil = #ly:arpeggio::brew-chord-bracket
\once \override Arpeggio #'positions = #(lambda (grob)
(let ((iv (ly:arpeggio::calc-positions grob))
(grow-hi (max 0 (/ $grow 2)))
(grow-lo (min 0 (/ $grow 2
(cons (+ (car iv) grow-lo) (+ (cdr iv) grow-hi
$(make-music 'EventChord 'elements (list (make-music 'ArpeggioEvent)))
#})
tenorUp = {
e8[ d'!8] e d'8 e c'8 e b4
}
tenorDown = {
\easyChBr #6 \override Arpeggio #'padding = #0.3
e4
s2
}
bassUp = {
\override Stem #'(details beamed-lengths) = #(make-list 4 2.5)
\override Stem #'(details beamed-extreme-minimum-free-lengths) = #(make-list 2 1.5)
b,8[
\once \override NoteColumn #'force-hshift = #0
d!8]
s2
}
bassDown = {
\once \override NoteColumn #'force-hshift = #1
\easyChBr #4 \override Arpeggio #'padding = #0
e,4
e, d8 e, c8 e, b,4
}
\score {
\new Staff \with {
\remove Time_signature_engraver
\remove Clef_engraver
}
{
\clef bass
\set Score.autoBeaming = ##f
{ s1 \tenorUp \\ \tenorDown \\ \bassUp \\ \bassDown \\ s1 }
}
}
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Re: two problems: vertical brackets and simultaneous voices
Robin Bannister wrote: And this is my attempt (see droeyende.ly). … which i like much more than mine - thanks! And then take care that the hidden note doesn't upset the whole applecart! i was just starting to mess everything up with brackets and hidden notes… You can instead tweak the position(s) of a non-spanning arpeggio bracket. The easyChBr function does this here. very nice function, indeed! -- View this message in context: http://www.nabble.com/two-problems%3A-vertical-brackets-and-simultaneous-voices-tp25949707p25959178.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Re: orchestra/opera example
Great! You don't need to do it yourself; I can handle that task. Cheers, - Graham On Mon, Oct 19, 2009 at 10:03:40PM +0800, 胡海鹏 - Hu Haipeng wrote: Thank you, and I'm happy to take out these bars. Haipeng -- Io/O *AuAuA:e-oA:OU *E'oO`i-L-NOT3D^1uOIIo/OI!P:I`iIA.!!.-L-NOTAa.NA`i^1aAAI ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: orchestra/opera example
Thank you, and I'm happy to take out these bars. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Does anyone still use breakbefore?
For a couple of years now, we've had Nicolas' cool top-level \pageBreak commands. So I'd like to get rid of the code supporting the old breakbefore \paper block variable. Before I do, is there still a use-case for it? Cheers, Joe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Does anyone still use breakbefore?
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 19. Oktober 2009 20:09:33 schrieb Joe Neeman: For a couple of years now, we've had Nicolas' cool top-level \pageBreak commands. So I'd like to get rid of the code supporting the old breakbefore \paper block variable. Nitpicking: It's a \header block variable (attached to each score) - I tried it as a paper variable and was quite confused when things didn't work ;-) Before I do, is there still a use-case for it? Yes, I think so. The use case I'm thinking of is works with multiple pieces: By default, pieces start in the middle of a page. But with the breakbefore header variable, one can automatically start a new page with each new movement (as opposed to manually inserting dozens of \pageBreak commands). The breakbefore is kind of a global switch, so one can easily change styles. Cheers, Reinhold - -- - -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.9 (GNU/Linux) iD8DBQFK3LIcTqjEwhXvPN0RAprSAJ0f4RJx1Uvi36v4mjAC7eM2vZfHTACfchVw h3WOF8+BO13OURifl72801Q= =woir -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Figured Bass - Alignment
Dear Lilyponders,
as ist was discussed in the group earlier, one can alter the size of
accidentals in figuredbass-mode with a bit of a hack changing the
translation-functions.scm:
(alt (ly:event-property event 'alteration))
(alt-markup
(if (number? alt)
(markup
#:general-align Y DOWN #:fontsize
(if (not (= alt DOUBLE-SHARP))
0 0) %**
this was
default -2 -2;
(alteration-text-accidental-markup alt))
now I've got the problem that the flat-sign changes the Y-position of the
numbers; I suppose that is beause the flat-sign uses more space above; see
example:
\include deutsch.ly
\new Staff{
\clef bass
\relative c{
b8-. \fz b' b b b,-. \fz b' b b
es, \p es es es es es es es
} }
\new FiguredBass {
\figuremode{
\bassFigureStaffAlignmentDown
\bassFigureExtendersOn
\repeat unfold 8 {7}
8 3 8 3 8 3 5! 3\! 6 4 6 4 5- 3 _
}
}
does anyone has an idea to change the translation-functions.scm to lower
only the flat-sign when it has a number?
by the way: after a while of playing with that, I wounder if the second
parameter has no? effect on the fontsize..?
cheers, Christian
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Re: Does anyone still use breakbefore?
Hi all, Can't you use a \bookpart block to achieve the page break at the start of a \score, too? Cheers, Ian Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 19. Oktober 2009 20:09:33 schrieb Joe Neeman: For a couple of years now, we've had Nicolas' cool top-level \pageBreak commands. So I'd like to get rid of the code supporting the old breakbefore \paper block variable. Nitpicking: It's a \header block variable (attached to each score) - I tried it as a paper variable and was quite confused when things didn't work ;-) Before I do, is there still a use-case for it? Yes, I think so. The use case I'm thinking of is works with multiple pieces: By default, pieces start in the middle of a page. But with the breakbefore header variable, one can automatically start a new page with each new movement (as opposed to manually inserting dozens of \pageBreak commands). The breakbefore is kind of a global switch, so one can easily change styles. Cheers, Reinhold ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[Fwd: Re: Does anyone still use breakbefore?]
Sorry all, sent this reply to devel, by mistake Ian ---BeginMessage--- Hi all, Can't you use a \bookpart block to achieve the page break at the start of a \score, too? Cheers, Ian Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 19. Oktober 2009 20:09:33 schrieb Joe Neeman: For a couple of years now, we've had Nicolas' cool top-level \pageBreak commands. So I'd like to get rid of the code supporting the old breakbefore \paper block variable. Nitpicking: It's a \header block variable (attached to each score) - I tried it as a paper variable and was quite confused when things didn't work ;-) Before I do, is there still a use-case for it? Yes, I think so. The use case I'm thinking of is works with multiple pieces: By default, pieces start in the middle of a page. But with the breakbefore header variable, one can automatically start a new page with each new movement (as opposed to manually inserting dozens of \pageBreak commands). The breakbefore is kind of a global switch, so one can easily change styles. Cheers, Reinhold ---End Message--- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Jazz combo example?
G'day all. Quoting Martin Tarenskeen m.tarensk...@zonnet.nl: Looks nice. Well, kind of. :-) I didn't go to a lot of trouble, so there are a few notable weirdnesses, such as accents clashing with phrasing marks. Incidentally, it's also a great example of how the 15 voice MIDI limit has this tendency to bite you if you have too many instruments. If anyone has any suggestions as to what to do about this, I'd appreciate any advice. Source code please, or at least a selection of the source code ? Here's a cut-down version: http://andrew.bromage.org/music/inthemood.ly Cheers, Andrew Bromage ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
