Re: ANN: Frescobaldi 1.2.0
Op zondag 26 december 2010 schreef Bernardo: One handy thinkg would be easy configurable 'quick inserts'. The user could write a plugin with his/her own favorite articulations/etc. The new Frescobaldi (2.0) will sport a more flexible plugin-like structure. In 1.2 you could use the Expand Dialog (Ctrl+.) but that one does not create articulations on multiple selected notes/chords. Other would be midi insert mode, with maybe integration with VMPK (also qt based). You can use VMPK by routing it to Rumor (which does the conversion to LilyPond) and use Rumor inside Frescobaldi via the rumor panel. 2010/12/26 Bernardo Barros bernardobarr...@gmail.com: Very nice, Wilbert! I'm downloading it. The plans for 2.0 include new functionalities, or mainly the replacement of pyKDE? Both ;-) Main target is becoming available on Mac and Windows in an easier way. I'm not sure how to handle things like embedding a MIDI player. That sort of things probably still require multiple backends for the different platforms. New functionalities that are already in place are multiple and split views, and highlighting of LilyPond inside HTML, DocBook, LaTex, Texinfo etc. LilyPond-book will be supported and it will become much easier to define own build commands. Running commands is not yet done but almost all generic editing functionality is already in place. There will also be a custom PDF preview with two-way point and click integration: moving the text cursor highlights objects in the PDF and objects in the PDF can directly be manipulated because the built-in parser knows that type of object they represent. The parser is already quite good and also provides the highlighting. Plan is also to integrate MIDI input so that rumor is not needed anymore. But this needs a MIDI backend and that is not yet done. best regards, Wilbert Berendsen -- Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/ Nederlands LilyPond forum: http://www.lilypondforum.nl/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chord name size
On 12/28/2010 02:43 PM, Peter Buhr wrote: I want to change the size of the chord names, as in: \override ChordNames #'font-size = #-1 but I can't find the grob name to do this. There's no `s' in ChordName. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Accidental and clef change issue
Hi!
This has been reported on the French user mailing list.
In the following code the c-natural is not printed if there is a clef
change in the middle of the measure.
\relative c' {
\clef bass cis2 c
\clef tenor cis2 \clef bass c % natural is not printed!!
\clef bass cis2 \clef tenor c
}
I do not know what say references like Ross, Read about this but I do
not think this should be the correct behaviour.
IMHO this is not what a musician (and a user) expect:
if we have a c-sharp and then a c-natural (at the same octave)
_in the same measure_, then the natural __MUST__ be printed!
This is also against what is said in the regtest
‘accidental-clef-change.ly’: Accidentals are reset for clef changes
(note that this regtest works fine but the reported code does not).
Could you investigate this?
Thanks in advance.
Cheers,
Xavier
PS: The only simple workaround is to use
#(set-accidental-style 'piano)
--
Xavier Scheuer x.sche...@gmail.com
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Re: Two voices in two different colors, which color wins in unisono part?
Hello everybody,
now I've got a working snippet showing the misbehaviour: two voices, one
in black and the other in red, and inside a unisono measure where all note
heads should have the same color, some note heads are black and others are
red.
Obviously, this behaviour is influenced by a trick I used to tie notes
across voices (see:
http://old.nabble.com/moving-Tie_engraver-to-Score-td30491489.html
http://old.nabble.com/moving-Tie_engraver-to-Score-td30491489.html ). I
added notes like e8*0 and c8*0 to the end of the first voice to get the
voices tied (see melodyAOne and melody ATwo in the following snippet). If I
use the trick, the note heads are all red except one that is black. If I
don't use it, all the note heads are red as expected. I also found out that
using ties instead of slurs at the beginning of the second unisono measure
also has influence on the note head color. Very strange!!
Jürgen
*** snippet starts here ***
\version 2.12.3
setNotesColor = {
\override NoteHead #'color = #red
\override Stem #'color = #red
\override Beam #'color = #red
\override Slur #'color = #red
\override Tie #'color = #red
\override Dots #'color = #red
\override Rest #'color = #red
}
melodyAOne = \relative c'' { e1 ~ e8*0 } % --- trick to tie the e1 to
the e8 in melodyBOne
melodyATwo = \relative c'' { c1 ~ c8*0 } % --- same
melodyBOne = \relative c'' { e8 d4.( d2) | r4 r8 g,8 b8 c8 b8 a16( b16 | a1)
}
melodyBTwo = \relative c'' { c8 b4.( b2) | r4 r8 g8 b8 c8 b8 a16( b16 | a1)
| }
\score {
\new Staff {
\new Voice = melody {
\new Voice = melodyAOne {
\voiceOne \melodyAOne
}
\new Voice = melodyATwo {
\setNotesColor
\voiceTwo \melodyATwo
}
\break
\new Voice = melodyBOne {
\voiceOne \melodyBOne
}
\new Voice = melodyBTwo {
\setNotesColor
\voiceTwo \melodyBTwo
}
}
}
}
\layout{ragged-right=##t}
* End of snippet **
Phil Holmes-2 wrote:
- Original Message -
From: Jürgen Ibelgaufts
To:
Sent: Monday, December 27, 2010 11:45 AM
Subject: Two voices in two different colors, which color wins in unisono
part?
Hello everybody,
I have two voices, \voiceOne printed in black, \voiceTwo printed in red.
There are two measures with identical notes, chords and lyrics, that are
unisono. Here, the two voices use the same note heads with black stems up
and red stems down.
Now there is the funny effect that in the first measure, all note heads
are
black, while in the first measure (with identical notes, as I said), all
note heads are read, except one that shows red!
Has anybody ever seen this before? Is there a way to determine in advance
which color shall win? Or, in other words, which voice to be printed
first,
and which voice to be printed on top of the other?
Unfortunately, I could not manage to write a short demo, because no matter
what I tried, all the note heads always got printed black.
Thanks in advance
Jürgen
--
When you said:
in the first measure, all note heads are
black, while in the first measure (with identical notes, as I said), all
note heads are read, except one that shows red!
Did you mean:
in the first measure, all note heads are
black, while in the _second_ measure (with identical notes, as I said),
all
note heads are _red_, except one that shows _black_!
?
--
Phil Holmes
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--
View this message in context:
http://old.nabble.com/Re%3A-Two-voices-in-two-different-colors%2C-which-color-wins-in-unisono-part--tp30538611p30544160.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Re: Accidental and clef change issue
Hello,
- Original Message -
From: Xavier Scheuer x.sche...@gmail.com
To: bug-lilypond bug-lilyp...@gnu.org; lilypond-user
lilypond-user@gnu.org
Cc: Philhar philhar1...@orange.fr
Sent: Tuesday, December 28, 2010 10:53 AM
Subject: Accidental and clef change issue
Hi!
This has been reported on the French user mailing list.
In the following code the c-natural is not printed if there is a clef
change in the middle of the measure.
\relative c' {
\clef bass cis2 c
\clef tenor cis2 \clef bass c % natural is not printed!!
\clef bass cis2 \clef tenor c
}
I do not know what say references like Ross, Read about this but I do
not think this should be the correct behaviour.
IMHO this is not what a musician (and a user) expect:
if we have a c-sharp and then a c-natural (at the same octave)
_in the same measure_, then the natural __MUST__ be printed!
This is also against what is said in the regtest
‘accidental-clef-change.ly’: Accidentals are reset for clef changes
(note that this regtest works fine but the reported code does not).
Could you investigate this?
Thanks in advance.
Cheers,
Xavier
PS: The only simple workaround is to use
#(set-accidental-style 'piano)
--
Xavier Scheuer x.sche...@gmail.com
It's doing what I would expect from reading the regtest - i.e. - when there
is a clef change, the accidentals are reset to that which you'd expect from
the key. Therefore, in your example we return to C major, and so there's no
need to print the accidental. I'd welcome other thoughts as to whether this
is correct, though.
--
Phil Holmes
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Re: Accidental and clef change issue
PS: The only simple workaround is to use #(set-accidental-style 'piano) another style that works is dodecaphonic! -- View this message in context: http://old.nabble.com/Accidental-and-clef-change-issue-tp30543997p3053.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: lilypond-user Digest, Vol 97, Issue 127
reply to message 2 the attachement is not available. When click on the link I got the error message: Sorry, the page you were looking for could not be found http://lists.gnu.org/archive/html/lilypond-user/attachments/20101227/b949ceaa/CenterLyrics.obj From: lilypond-user-requ...@gnu.org lilypond-user-requ...@gnu.org To: lilypond-user@gnu.org Sent: Tue, December 28, 2010 2:08:53 AM Subject: lilypond-user Digest, Vol 97, Issue 127 Send lilypond-user mailing list submissions to lilypond-user@gnu.org To subscribe or unsubscribe via the World Wide Web, visit http://lists.gnu.org/mailman/listinfo/lilypond-user or, via email, send a message with subject or body 'help' to lilypond-user-requ...@gnu.org You can reach the person managing the list at lilypond-user-ow...@gnu.org When replying, please edit your Subject line so it is more specific than Re: Contents of lilypond-user digest... Today's Topics: 1. chord name size (Peter Buhr) 2. centering the new Lyrics (Keith OHara) -- Message: 1 Date: Mon, 27 Dec 2010 23:43:52 -0500 From: Peter Buhr pab...@sympatico.ca Subject: chord name size To: lilypond-user@gnu.org Message-ID: e1pxrpc-00024r...@beppo I want to change the size of the chord names, as in: \override ChordNames #'font-size = #-1 but I can't find the grob name to do this. -- Message: 2 Date: Mon, 27 Dec 2010 23:08:04 -0800 From: Keith OHara k-ohara5...@oco.net Subject: centering the new Lyrics To: lilypond-user@gnu.org lilypond-user@gnu.org Message-ID: op.voewrqqfkr5...@ohara Content-Type: text/plain; charset=utf-8 Dear engravers of lyrics, The next version of LilyPond will handle empty spaces within lyrics differently. If we have some adjacent lines of lyrics, version 2.12 collapses any empty sections, so the set of lines collapses to the minimum vertical height. The new system by default preserves the space for the empty sections[*], so that the lines remain consistently spaced. So far I have heard people want to do two things: (1) let interrupted lyrics collapse to a single line, (2) perfectly center a line of lyrics between two staves. The new system is very flexible, so we can do these things (attached). But the new system is complicated, so I always forget and need to relearn how to use it. I want to make a new snippet(s), or a shortcut command(s). Do people really want to do such things? What else? Is the attached .ly self-explanatory? -- Keith note[*] except between one line of Lyrics attached to the next staff #UP and another line attached to the next staff #DOWN. In this case LilyPond tries to let the lyrics collapse, but there is a bug (issue 1309) that sometimes prevents them from lining up perfectly. -- next part -- A non-text attachment was scrubbed... Name: CenterLyrics.ly Type: application/octet-stream Size: 3980 bytes Desc: not available Url : http://lists.gnu.org/archive/html/lilypond-user/attachments/20101227/b949ceaa/CenterLyrics.obj -- next part -- A non-text attachment was scrubbed... Name: defaultNnewLyrics.png Type: image/png Size: 21882 bytes Desc: not available Url : http://lists.gnu.org/archive/html/lilypond-user/attachments/20101227/b949ceaa/defaultNnewLyrics.png -- next part -- A non-text attachment was scrubbed... Name: adjustedLyrics.png Type: image/png Size: 26049 bytes Desc: not available Url : http://lists.gnu.org/archive/html/lilypond-user/attachments/20101227/b949ceaa/adjustedLyrics.png -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user End of lilypond-user Digest, Vol 97, Issue 127 ** ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Accidental and clef change issue
Am Dienstag, 28. Dezember 2010, um 14:23:14 schrieb Phil Holmes:
David Kastrup d...@gnu.org wrote in message
I don't think it is correct. If you set the above with \key g\major,
you will notice that the key signature is _not_ repeated with a clef
change. So there is no visual or logical reason to assume accidentals
are reset. If that was the underlying assumption for a clef change,
the key signature would be repeated.
So I'm confused as to what the regtest text cited means. It
(accidental-clef-change.ly) says Accidentals are reset for clef changes.
I couldn't really find anything about accidentals in combination with clef
changes in Stone or Read. The only thing that might apply is in Stone (p.54,
item D. At Clef Changes:
If a clef changes withing a measure and the same note occurs before and after
the clef change, the accidental must be repeated:
(Example in lilypond-notation:)
\relative c'' { \time 2/4 \clef treble a8[( cis,]) \clef bass cis[( e,]) }
In that example, the cis after the clef change gets a sharp.
However, this example is only about repeating an accidental, not about whether
all previous accidentals are actually reset and no natural is required.
As a musician, I would definiely appreciate if the natural sign is displayed,
just to make it clear that it is a c and not a cis.
I would be great, though, if anyone can find a published example of such a
situation (most likely in e.g. cello/bassoon parts/scores, which frequently
switch between bass and tenor clef).
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
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making staves full of rests disappear in a full score
Hello all! I have a large orchestral score, in which individual instruments at times are resting for many pages. I would like these instruments to disappear (those staves not to be shown) on systems where they have nothing but rests. The only way I can think of to do this, is to create a new staff at the point where the instrument appears, and to do so each time. Is there a less cumbersome way of doing this? Regards, Frauke ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making staves full of rests disappear in a full score
On 28 December 2010 15:46, Frauke Jurgensen frauk...@gmail.com wrote:
Hello all!
I have a large orchestral score, in which individual instruments at
times are resting for many pages. I would like these instruments to
disappear (those staves not to be shown) on systems where they have
nothing but rests.
The only way I can think of to do this, is to create a new staff at
the point where the instrument appears, and to do so each time.
Is there a less cumbersome way of doing this?
Hi!
Yes there is!
See Notation Reference manual:
NR 1.6.2 Modifying single staves Hiding staves
version 2.12:
\layout {
\context {
\RemoveEmptyStaffContext
}
}
http://lilypond.org/doc/v2.13/Documentation/notation/modifying-single-staves.html#hiding-staves
version 2.13:
\layout {
\context {
\Staff \RemoveEmptyStaves
}
}
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Modifying-single-staves#Hiding-staves
Cheers,
Xavier
--
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Re: making staves full of rests disappear in a full score
- Original Message -
From: Xavier Scheuer x.sche...@gmail.com
To: Frauke Jurgensen frauk...@gmail.com
Cc: lilypond-user@gnu.org
Sent: Tuesday, December 28, 2010 2:53 PM
Subject: Re: making staves full of rests disappear in a full score
On 28 December 2010 15:46, Frauke Jurgensen frauk...@gmail.com wrote:
Hello all!
I have a large orchestral score, in which individual instruments at
times are resting for many pages. I would like these instruments to
disappear (those staves not to be shown) on systems where they have
nothing but rests.
The only way I can think of to do this, is to create a new staff at
the point where the instrument appears, and to do so each time.
Is there a less cumbersome way of doing this?
Hi!
Yes there is!
See Notation Reference manual:
NR 1.6.2 Modifying single staves Hiding staves
[snip]
Also:
\layout {
\context {
\override VerticalAxisGroup #'remove-first = ##t
}
}
To get rid of empty staves on the first line.
--
Phil Holmes
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Re: making staves full of rests disappear in a full score
Frauke Jurgensen frauk...@gmail.com writes: Hello all! I have a large orchestral score, in which individual instruments at times are resting for many pages. I would like these instruments to disappear (those staves not to be shown) on systems where they have nothing but rests. The only way I can think of to do this, is to create a new staff at the point where the instrument appears, and to do so each time. Is there a less cumbersome way of doing this? Check the notation manual, node Hiding staves. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making staves full of rests disappear in a full score
Thanks all! I just updated to 2.12.33, was using an ancient version where this didn't seem to exist yet...Problem solved! On Tue, Dec 28, 2010 at 3:00 PM, David Kastrup d...@gnu.org wrote: Frauke Jurgensen frauk...@gmail.com writes: Hello all! I have a large orchestral score, in which individual instruments at times are resting for many pages. I would like these instruments to disappear (those staves not to be shown) on systems where they have nothing but rests. The only way I can think of to do this, is to create a new staff at the point where the instrument appears, and to do so each time. Is there a less cumbersome way of doing this? Check the notation manual, node Hiding staves. -- David Kastrup ___ 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: Not enough space between certain words
Op zondag 26 december 2010 schreef Michael:
I am working on another liturgical piece of music, and it has a refrain
that ends with the word: Alleluia! In most cases, that word is getting
scrunched up, and the dashes are not visible. The rest of the piece is
fine, except for that part. Could anyone help, please? Attached is the
current version of the file.
Add this:
\layout {
\context {
\Score
\override SpacingSpanner #'packed-spacing = ##f
}
\context {
\Lyrics
\override LyricHyphen #'minimum-distance = #0.6
\override LyricSpace #'minimum-distance = #0.6
}
}
just below the \include gregorian.ly .
The first incantation will improve the note spacing which is changed to the
gregorian default style by gregorian.ly, and the second one forces a minimum
distance between syllabes with and without hyphens, so that they do not
disappear. Of course you can experiment with the vaules.
best regards,
Wilbert Berendsen
--
Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/
Nederlands LilyPond forum: http://www.lilypondforum.nl/
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Re: Not enough space between certain words
Hi,
I have additional useful information :) Please add
\revert Score.SpacingSpanner #'packed-spacing
to your global variable, too. You'll notice that spacing of notes
sung to word Thee (right before Alleluia) improves dramatically!
cheers,
Janek
2010/12/27 Jan Warchoł lemniskata.bernoulli...@gmail.com:
Hi,
i found something that may be helpful to you: there are some strange
gaps in the output, for example after because He hath in first
system, or inside Alleluias (like in the third system). They became
obvious when there is no lyrics (try compiling the attached code).
I suppose they appear because barlines are still there (they are made
invisible, but still exist). It can be solved by switching the time
signature off - using cadenzas. You can add the cadenza indication in
global variable:
global = {
\key f \major
\cadenzaOn
\override Staff.TimeSignature #'stencil = ##f
\override Staff.BarLine #'stencil = ##f
}
(unfortunately you'll have to manually add breaks by using \bar
\break in apprppriate places.)
Hope that helps,
Janek
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Re: Two voices in two different colors, which color wins in unisono part?
Hi Jurgen,
the strange coloring interested me, but your snippet failed to produce
any output on my computer... Also it collapsed into a continous stream
of characters (see below) which renders it totally unreadable :(
Perhaps something is wrong with your e-mail client?
cheers,
Janek
2010/12/28 Jürgen Ibelgaufts juri...@gmx.de:
Hello everybody, now I've got a working snippet showing the misbehaviour:
two voices, one in black and the other in red, and inside a unisono measure
where all note heads should have the same color, some note heads are black
and others are red. Obviously, this behaviour is influenced by a trick I
used to tie notes across voices (see:
http://old.nabble.com/moving-Tie_engraver-to-Score-td30491489.html). I added
notes like e8*0 and c8*0 to the end of the first voice to get the voices
tied (see melodyAOne and melody ATwo in the following snippet). If I use the
trick, the note heads are all red except one that is black. If I don't use
it, all the note heads are red as expected. I also found out that using ties
instead of slurs at the beginning of the second unisono measure also has
influence on the note head color. Very strange!! Jürgen *** snippet
starts here *** \version 2.12.3 setNotesColor = { \override
NoteHead #'color = #red \override Stem #'color = #red \override Beam #'color
= #red \override Slur #'color = #red \override Tie #'color = #red \override
Dots #'color = #red \override Rest #'color = #red } melodyAOne = \relative
c'' { e1 ~ e8*0 } % --- trick to tie the e1 to the e8 in melodyBOne
melodyATwo = \relative c'' { c1 ~ c8*0 } % --- same melodyBOne = \relative
c'' { e8 d4.( d2) | r4 r8 g,8 b8 c8 b8 a16( b16 | a1) } melodyBTwo =
\relative c'' { c8 b4.( b2) | r4 r8 g8 b8 c8 b8 a16( b16 | a1) | } \score {
\new Staff { \new Voice = melody { \new Voice = melodyAOne {
\voiceOne \melodyAOne } \new Voice = melodyATwo { \setNotesColor \voiceTwo
\melodyATwo } \break \new Voice = melodyBOne { \voiceOne \melodyBOne
} \new Voice = melodyBTwo { \setNotesColor \voiceTwo \melodyBTwo } } }
} \layout{ragged-right=##t} * End of snippet **
Phil Holmes-2 wrote:
- Original Message - From: Jürgen Ibelgaufts To: Sent: Monday,
December 27, 2010 11:45 AM Subject: Two voices in two different colors,
which color wins in unisono part? Hello everybody, I have two voices,
\voiceOne printed in black, \voiceTwo printed in red. There are two measures
with identical notes, chords and lyrics, that are unisono. Here, the two
voices use the same note heads with black stems up and red stems down. Now
there is the funny effect that in the first measure, all note heads are
black, while in the first measure (with identical notes, as I said), all
note heads are read, except one that shows red! Has anybody ever seen this
before? Is there a way to determine in advance which color shall win? Or, in
other words, which voice to be printed first, and which voice to be printed
on top of the other? Unfortunately, I could not manage to write a short
demo, because no matter what I tried, all the note heads always got printed
black. Thanks in advance Jürgen -- When you said: in the first measure, all
note heads are black, while in the first measure (with identical notes, as I
said), all note heads are read, except one that shows red! Did you mean:
in the first measure, all note heads are black, while in the _second_
measure (with identical notes, as I said), all note heads are _red_, except
one that shows _black_! ? -- Phil Holmes
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View this message in context: Re: Two voices in two different colors, which
color wins in unisono part?
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Re: Two voices in two different colors, which color wins in unisono part?
Am 28.12.2010 16:43, schrieb Jan Warchoł:
Hi Jurgen,
the strange coloring interested me, but your snippet failed to produce
any output on my computer... Also it collapsed into a continous stream
of characters (see below) which renders it totally unreadable :(
Perhaps something is wrong with your e-mail client?
cheers,
Janek
Hello Janek, this is what I intended to post. I apologize. I used the Old
Nabble forum which is a mirror of this mailing list. Now I see that I rather
use my mail client. Here is my posting again, I hope it is readable now.
Jürgen
--
Hello everybody,
now I've got a working snippet showing the misbehaviour: two voices, one in
black and the other in red, and inside a unisono measure where all note heads should have
the same color, some note heads are black and others are red.
Obviously, this behaviour is influenced by a trick I used to tie notes across voices (see:
http://old.nabble.com/moving-Tie_engraver-to-Score-td30491489.html). I added notes like
e8*0 and c8*0 to the end of the first voice to get the voices tied (see
melodyAOne and melody ATwo in the following snippet). If I use the trick, the note heads are all
red except one that is black. If I don't use it, all the note heads are red as expected. I also
found out that using ties instead of slurs at the beginning of the second unisono measure also has
influence on the note head color. Very strange!!
Jürgen
*** snippet starts here ***
\version 2.12.3
setNotesColor = {
\override NoteHead #'color = #red
\override Stem #'color = #red
\override Beam #'color = #red
\override Slur #'color = #red
\override Tie #'color = #red
\override Dots #'color = #red
\override Rest #'color = #red
}
melodyAOne = \relative c'' { e1 ~ e8*0 } % --- trick to tie the e1 to the
e8 in melodyBOne
melodyATwo = \relative c'' { c1 ~ c8*0 } % --- same
melodyBOne = \relative c'' { e8 d4.( d2) | r4 r8 g,8 b8 c8 b8 a16( b16 | a1) }
melodyBTwo = \relative c'' { c8 b4.( b2) | r4 r8 g8 b8 c8 b8 a16( b16 | a1) | }
\score {
\new Staff {
\new Voice = melody {
\new Voice = melodyAOne {
\voiceOne \melodyAOne
}
\new Voice = melodyATwo {
\setNotesColor
\voiceTwo \melodyATwo
}
\break
\new Voice = melodyBOne {
\voiceOne \melodyBOne
}
\new Voice = melodyBTwo {
\setNotesColor
\voiceTwo \melodyBTwo
}
}
}
}
\layout{ragged-right=##t}
* End of snippet **
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Re: ps to pdf conversion fails
The problem is general. Jan Warchoł wrote: 2010/12/27 jw. Verhagen jw.verha...@gmail.com: 2010/12/22 Jan Warchoł lemniskata.bernoulli...@gmail.com 2010/12/21 jacquesv jw.verha...@gmail.com I have the same problem. The problem came after the update of Lilypond form 2.13.4 to 2.13.5. Returning to Lilypond 2.13.4 the problem is over. Now I cannot use Lilypond 2.13.5 or higher. Doesn't Phil answer work for you also? ( on 18 December 2010 Phil Holmes worte: This normally occurs when it's not possible to delete the previous version of the PDF - often because it's open in a PDF viewer. Try deleting the old version and see if that fixes it. ) I did what Phil Holmes wrote, but It doesn'n work. What has been changed after the update of 2.13.5 and further? When I install 2.13.4. I don't have any problem. Strange... I suppose someone wiser than me should investigate your problem, i don't know what's the cause. I send this e-mail to the whole lilypond-user mailing list (please always reply to the whole list, so other people can also participate in solving the problem). Besides, if your problem is not general but occurs only with a particular file, you can post it to the list (preferably after redicung it to a tiny example form, see http://lilypond.org/tiny-examples.html ). Cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- View this message in context: http://old.nabble.com/ps-to-pdf-conversion-fails-tp30487145p30545752.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: Two voices in two different colors, which color wins in unisono part?
On 27 December 2010 11:45, Jürgen Ibelgaufts juri...@gmx.de wrote: Has anybody ever seen this before? Is there a way to determine in advance which color shall win? Or, in other words, which voice to be printed first, and which voice to be printed on top of the other? Read about the 'layer property here: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Visibility-of-objects.html#Painting-objects-white All the noteheads in your score have the same layer, so you can't always be sure which voice's heads will win unless you change the default: \override NoteHead #'layer = #2 Cheers, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two voices in two different colors, which color wins in unisono part?
I must have had hallucinations, too. At one stage, I made a change, and received a different output. then I reverted the change, and received a different output again, but not the same that I had before the change. Seems that using notes with zero length and/or slurs instead of ties opens an area in lilypond that is not so well defined :-) Did I tell you before that in my original score, I have three identical unisono measures, and each looks different? First one has all black note heads with black stems up and red stems down. second one has all red note heads, and the third one has mixed colors. all with black stemps up and red stems down. In all cases the unisono whole note (last measure of the snippet) is printed twice (one black and one red) because there are no stems. Cheers Jürgen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two voices in two different colors, which color wins in unisono part?
wow that's it! Very elegant! Am 28.12.2010 17:38, schrieb Neil Puttock: \override NoteHead #'layer = #2 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How do I stop circles from wobbling?
The following is wobbly, likely because of different vertical extends of
the strings. But the vertical extent should fit in the circles
necessitated by the horizontal extent.
Can anybody tell me what to do to keep the circles from wobbling?
#(define-markup-list-command (buttons layout props str) (string?)
(map (lambda (str)
(interpret-markup layout props (markup #:hcenter-in 10 #:circle
#:hcenter-in 4 str)))
(string-split str #\-)))
\markup {
\left-column {
\line { \hspace #10 \buttons #D-F-G♯-H-d-f-g♯-h }
\line { \hspace #8 \buttons #C♯-E-G-A♯-c♯-e-g-a♯ }
\line { \hspace #6 \buttons #C-D♯-F♯-A-c-d♯-f♯-a }
}
}
--
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Re: centering the new Lyrics
On Dec 28, 2010, at 8:08 AM, Keith OHara wrote: Dear engravers of lyrics, The next version of LilyPond will handle empty spaces within lyrics differently. If we have some adjacent lines of lyrics, version 2.12 collapses any empty sections, so the set of lines collapses to the minimum vertical height. The new system by default preserves the space for the empty sections[*], so that the lines remain consistently spaced. So far I have heard people want to do two things: (1) let interrupted lyrics collapse to a single line, (2) perfectly center a line of lyrics between two staves. The new system is very flexible, so we can do these things (attached). But the new system is complicated, so I always forget and need to relearn how to use it. I want to make a new snippet(s), or a shortcut command(s). Do people really want to do such things? What else? Is the attached .ly self-explanatory? -- Keith note[*] except between one line of Lyrics attached to the next staff #UP and another line attached to the next staff #DOWN. In this case LilyPond tries to let the lyrics collapse, but there is a bug (issue 1309) that sometimes prevents them from lining up perfectly. CenterLyrics.lydefaultNnewLyrics.pngadjustedLyrics.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user Woah, that looks like a lot to understand. Just a quick update of some of my scores, and I'm seeing some of the differences mentioned. So far, what's written there seems like it should be helpful, and as I have questions, I will certainly ask. As for the things mentioned, it might also be helpful to show a damn, totally sent that earlier than I wanted to. In any event, I guess I'll start reading, since a quick test of a score showed exactly the kinds of issues this is intended to discuss. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Accidental and clef change issue
I don't know about this one. Certainly, the accidental should be (and is)
printed. It's the naturals that aren't printed. Not even when changing octaves:
\new Staff \relative c' {
\time 6/4
\clef treble
cis dis fis
\clef tenor
c d f
\clef bass
cis dis fis
\clef treble
c' d f
}
Certainly, when changing octaves the accidental (sharp or flat), but I don't
recall for naturals.
On Dec 28, 2010, at 12:41 PM, Phil Holmes wrote:
Hello,
- Original Message - From: Xavier Scheuer x.sche...@gmail.com
To: bug-lilypond bug-lilyp...@gnu.org; lilypond-user
lilypond-user@gnu.org
Cc: Philhar philhar1...@orange.fr
Sent: Tuesday, December 28, 2010 10:53 AM
Subject: Accidental and clef change issue
Hi!
This has been reported on the French user mailing list.
In the following code the c-natural is not printed if there is a clef
change in the middle of the measure.
\relative c' {
\clef bass cis2 c
\clef tenor cis2 \clef bass c % natural is not printed!!
\clef bass cis2 \clef tenor c
}
I do not know what say references like Ross, Read about this but I do
not think this should be the correct behaviour.
IMHO this is not what a musician (and a user) expect:
if we have a c-sharp and then a c-natural (at the same octave)
_in the same measure_, then the natural __MUST__ be printed!
This is also against what is said in the regtest
‘accidental-clef-change.ly’: Accidentals are reset for clef changes
(note that this regtest works fine but the reported code does not).
Could you investigate this?
Thanks in advance.
Cheers,
Xavier
PS: The only simple workaround is to use
#(set-accidental-style 'piano)
--
Xavier Scheuer x.sche...@gmail.com
It's doing what I would expect from reading the regtest - i.e. - when there
is a clef change, the accidentals are reset to that which you'd expect from
the key. Therefore, in your example we return to C major, and so there's no
need to print the accidental. I'd welcome other thoughts as to whether this
is correct, though.
--
Phil Holmes
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status of new vertical spacing in 2.13.44
Hi,
Should the following code work? Am I misunderstanding
staff-staff-spacing. Changing the numbers doesn't seem to change the
spacing. (I haven't tried it in any other version).
TIA,
Paul Scott
\version 2.13.44
\header{ poet = \markup{ staff-staff-spacing test } }
\score{
\new Staff \with {
\override VerticalAxisGroup #'staff-staff-spacing =
#'((basic-distance . 8)
(minimum-distance . 7)
(padding . 8))
}
{ \repeat unfold 200 a'1 }
\addlyrics { \lyricmode{ what } }
\addlyrics { \lyricmode{ why } }
}
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Re: Two voices in two different colors, which color wins in unisono part?
Hi Janek, It wasn't the long slur between measure 3 and 4 that indeed would make no sense with a tie. it was the tie in the second measure (first measure in second line). I used a tie for historical reasons. In order to tie the last note of measure 1 to the first note in measure 2 (which cannot work as ties across voices are not supported), I added a tie_engraver to the score level. And forgot to remove it from the voice level, resulting in two concurrent engravers messing up my score with lots of unwanted ties. I fixed that by using slurs instead of ties. Resulting in beautifully colored slurs, but by no means I could have red and black ties across voices, because at score level, the ties for \voiceOne and \voiceTwo are regarded as one single tie (you can even type one tie only, say in \voiceOne and no tie in \voiceTwo, and Lilypind produces both ties anyway). So I dismissed this approach and (with some help from this mailing list) use the solution found in my snippet. Regards Jürgen Am 28.12.2010 17:28, schrieb Jan Warchoł: Do you mean using ties between 3rd and 4th measure? Doing so doesn't make sense to me at all... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two voices in two different colors, which color wins in unisono part?
Ah, ok. regards, Janek 2010/12/28 Jürgen Ibelgaufts juri...@gmx.de: Hi Janek, It wasn't the long slur between measure 3 and 4 that indeed would make no sense with a tie. it was the tie in the second measure (first measure in second line). I used a tie for historical reasons. In order to tie the last note of measure 1 to the first note in measure 2 (which cannot work as ties across voices are not supported), I added a tie_engraver to the score level. And forgot to remove it from the voice level, resulting in two concurrent engravers messing up my score with lots of unwanted ties. I fixed that by using slurs instead of ties. Resulting in beautifully colored slurs, but by no means I could have red and black ties across voices, because at score level, the ties for \voiceOne and \voiceTwo are regarded as one single tie (you can even type one tie only, say in \voiceOne and no tie in \voiceTwo, and Lilypind produces both ties anyway). So I dismissed this approach and (with some help from this mailing list) use the solution found in my snippet. Regards Jürgen Am 28.12.2010 17:28, schrieb Jan Warchoł: Do you mean using ties between 3rd and 4th measure? Doing so doesn't make sense to me at all... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: status of new vertical spacing in 2.13.44
On 28 December 2010 19:49, Paul Scott waterho...@ultrasw.com wrote:
Hi,
Should the following code work? Am I misunderstanding staff-staff-spacing.
Changing the numbers doesn't seem to change the spacing. (I haven't tried
it in any other version).
TIA,
Paul Scott
\version 2.13.44
\header{ poet = \markup{ staff-staff-spacing test } }
\score{
\new Staff \with {
\override VerticalAxisGroup #'staff-staff-spacing =
#'((basic-distance . 8)
(minimum-distance . 7)
(padding . 8))
}
{ \repeat unfold 200 a'1 }
\addlyrics { \lyricmode{ what } }
\addlyrics { \lyricmode{ why } }
Hi,
\addlyrics is equivalent to \new Lyrics .
Spacing between staff and lyrics is not controlled by
'staff-staff-spacing but by 'nonstaff-relatedstaff-spacing .
See Spacing of non-staff lines within the doc:
http://lilypond.org/doc/v2.13/Documentation/notation/flexible-vertical-spacing-within-systems.html#spacing-of-non_002dstaff-lines
Cheers,
Xavier
--
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Re: status of new vertical spacing in 2.13.44
On 12/28/2010 12:51 PM, Xavier Scheuer wrote:
On 28 December 2010 19:49, Paul Scottwaterho...@ultrasw.com wrote:
Hi,
Should the following code work? Am I misunderstanding staff-staff-spacing.
Changing the numbers doesn't seem to change the spacing. (I haven't tried
it in any other version).
TIA,
Paul Scott
\version 2.13.44
\header{ poet = \markup{ staff-staff-spacing test } }
\score{
\new Staff \with {
\override VerticalAxisGroup #'staff-staff-spacing =
#'((basic-distance . 8)
(minimum-distance . 7)
(padding . 8))
}
{ \repeat unfold 200 a'1 }
\addlyrics { \lyricmode{ what } }
\addlyrics { \lyricmode{ why } }
Hi,
\addlyrics is equivalent to \new Lyrics .
Spacing between staff and lyrics is not controlled by
'staff-staff-spacing but by 'nonstaff-relatedstaff-spacing .
See Spacing of non-staff lines within the doc:
http://lilypond.org/doc/v2.13/Documentation/notation/flexible-vertical-spacing-within-systems.html#spacing-of-non_002dstaff-lines
Thanks for the clarification.
I actually want to increase the spacing between the second lyric and the
next staff. I didn't see where 4.4.1 covered that or where what I want
is documented.
Thanks,
Paul
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Re: status of new vertical spacing in 2.13.44
On 28 December 2010 21:01, Paul Scott waterho...@ultrasw.com wrote:
Thanks for the clarification.
I actually want to increase the spacing between the second lyric and the
next staff. I didn't see where 4.4.1 covered that or where what I want is
documented.
Then I think you may consider spacing between 2 systems.
\paper {
system-system-spacing =
#'((basic-distance . 16)
(minimum-distance . 10)
(padding . 1)
(stretchability . 60))
}
In your case one system is composed of one staff and two lyrics.
Spacing between second lyric and next staff _is_ the spacing between
2 systems.
See NR 4.1.4 Flexible vertical spacing \paper variables
http://lilypond.org/doc/v2.13/Documentation/notation/flexible-vertical-spacing-_005cpaper-variables.html
Cheers,
Xavier
--
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Re: status of new vertical spacing in 2.13.44
On 12/28/2010 01:23 PM, Xavier Scheuer wrote:
On 28 December 2010 21:01, Paul Scottwaterho...@ultrasw.com wrote:
Thanks for the clarification.
I actually want to increase the spacing between the second lyric and the
next staff. I didn't see where 4.4.1 covered that or where what I want is
documented.
Then I think you may consider spacing between 2 systems.
Thanks!! (It wasn't completely obvious that that was a system.)
Paul
\paper {
system-system-spacing =
#'((basic-distance . 16)
(minimum-distance . 10)
(padding . 1)
(stretchability . 60))
}
In your case one system is composed of one staff and two lyrics.
Spacing between second lyric and next staff _is_ the spacing between
2 systems.
See NR 4.1.4 Flexible vertical spacing \paper variables
http://lilypond.org/doc/v2.13/Documentation/notation/flexible-vertical-spacing-_005cpaper-variables.html
Cheers,
Xavier
--
Paul Scott
Librarian
Southern Arizona Symphony Orchestra
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Re: Accidental and clef change issue
Am Dienstag, 28. Dezember 2010, um 15:14:05 schrieb David Kastrup: Reinhold Kainhofer reinh...@kainhofer.com writes: I would be great, though, if anyone can find a published example of such a situation (most likely in e.g. cello/bassoon parts/scores, which frequently switch between bass and tenor clef). Edition Peters, piano excerpt by Brissler from Mozart Requiem, Confutatis. The g in the corni di bassotto entry is not even in the same octave, and still gets a natural. Also, in the Bärenreiter piano reduction of Bach's Christmas oratorio, measure 7 of the Choral Nr. 23 (Wir singen dir), p.72 of Bärenreiter BA 5014a. There is a dis' in treble clef, followed by a d in bass clef. That d gets a natural cancellation. 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 attachment: Accidental_ClefChange.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making staves full of rests disappear in a full score
Am Dienstag, 28. Dezember 2010, um 15:46:44 schrieb Frauke Jurgensen: Hello all! I have a large orchestral score, in which individual instruments at times are resting for many pages. I would like these instruments to disappear (those staves not to be shown) on systems where they have nothing but rests. The only way I can think of to do this, is to create a new staff at the point where the instrument appears, and to do so each time. Lilypond of course supports this crucial feature for orchestral scores: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Modifying-single- staves.html#Hiding-staves To get examples for such things, it is also always a good idea to search the LSR: http://www.lsr.dsi.unimi.it/ 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 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Accidental and clef change issue
The Dover Edition of the Beethoven Sonatas, a reproduction of the 1923 Universal Edition (H. Schenker, ed.) has the attached in opus 27, no 2, second movement (Presto Agitato) mm 54,55. In the left hand of mm 54, the clef changes 4 times (bass, treble, bass, treble). The movement is in E major. There is a natural sign on the A immediately after the clef change. It's not clear, though, whether it's there to cancel the sharp on the space (implied by the preceding C-sharp in the bass clef) or whether it's simply a courtesy accidental that corresponds to the one in the right hand. I think it's most likely the latter. Not sure how relevant this is to the original question. Cheers, Mike On Tue, Dec 28, 2010 at 9:44 AM, Reinhold Kainhofer reinh...@kainhofer.comwrote: Am Dienstag, 28. Dezember 2010, um 15:14:05 schrieb David Kastrup: Reinhold Kainhofer reinh...@kainhofer.com writes: I would be great, though, if anyone can find a published example of such a situation (most likely in e.g. cello/bassoon parts/scores, which frequently switch between bass and tenor clef). Edition Peters, piano excerpt by Brissler from Mozart Requiem, Confutatis. The g in the corni di bassotto entry is not even in the same octave, and still gets a natural. Also, in the Bärenreiter piano reduction of Bach's Christmas oratorio, measure 7 of the Choral Nr. 23 (Wir singen dir), p.72 of Bärenreiter BA 5014a. There is a dis' in treble clef, followed by a d in bass clef. That d gets a natural cancellation. 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 ___ 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
Fast lilypond running
Hi, I'm working on an enhancement to LilyPondTool to rerender the score in the background while typing. I found that on weblily.net the processing is surprisingly fast. Is there a known trick to make it so? I mean something like having GUILE loaded in the memory? Thanks, Bertalan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fast lilypond running
On Wed, Dec 29, 2010 at 01:36:50AM +0100, Bertalan Fodor (LilyPondTool) wrote: I found that on weblily.net the processing is surprisingly fast. Is there a known trick to make it so? I mean something like having GUILE loaded in the memory? I don't know about weblily, but you might be interested in this issue, which is specifically about keep guile in memory: http://code.google.com/p/lilypond/issues/detail?id=1199 Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
