Re: score transposition problem

[Marc Hohl]

Am 13.04.2011 06:15, schrieb Tom Cloyd:
I have a simple problem which I've never before faced, and I'm hoping 
there exists a simple solution about which someone can tell me.


I play and write music for classic guitar, so I use "\clef "treble_8"" 
in my scores (classic guitar sounds an octave lower than the music 
notation).


I want to arrange a Bach chorale for guitar. My score for the chorale 
is a nightmare. I can barely read bass clef, and can do that in my 
mind, but the scores for soprano, alto, and tenor all use C-clefs, and 
in a way that each score must be read in a unique way. I've never 
before seen a score like this. The notes fit nicely on the staff, but 
I cannot read them without a lot of mental gymnastics.


Is there a way simply to input the notes to a lilypond file as if they 
were in my normal G-clef, such that, for example, the F-clef for the 
bass part, where the note is placed on the top line of the staff (an 
A), I would record it as an F, then magically move the notes up or 
down enough semi-tones to get to a correct placement on the treble_8 
clef, at which point I add key signature to my *.ly file and I'm ready 
to begin my transposition, using the PDF output to play from...?
Well, you describe how to proceed: just input the notes as if they were 
written on G clef.


Your "f" is actually written f'' and should sound like an "a", so just add

\transpose f'' a { \myMusic }

and it should work out of the box. The same holds for the C clefs, of 
course.


Regards,

Marc


This is what I'd do mentally, if that were all I COULD do, but it 
hurts my brain to think about doing this for all the parts, using 
C-clefs which are placed wherever it was convenient to place them by 
the composer (I wonder if Bach did this, or was it someone else...?).


The more I think about this the more I think there must be a way to do 
it, and only using Lilypond, but I don't know what it might be.


I look forward to the response of this forum, which I have to say is 
without doubt the most helpful of the many to which I belong.


t.


___
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: How can I get good layout and good midi without writing everything twice?

[Martin Tarenskeen]

On Wed, 13 Apr 2011, Marc Hohl wrote:


Or, if you are using the latest development version, you can use \articulate
in your \midi { } block.


don't you forget
\include "articulate.ly"
?

or is that not necessary anymore in the latest development version ?



\score {
 \myMusic
 \layout { }
}

\score {
 \articulate \myMusic
 \midi { }


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: How can I get good layout and good midi without writing everything twice?

[Marc Hohl]

Am 13.04.2011 01:55, schrieb Michael Ellis:




On Tue, Apr 12, 2011 at 12:38 PM, Helge Hafting > wrote:


What I need, is to get the midi output for
 \appoggiatura{e16 fis} e16
but the layout for
 e16\prall



Hi Helge,
You could use tags.


Or, if you are using the latest development version, you can use \articulate
in your \midi { } block.

\score {
  \myMusic
  \layout { }
}

\score {
  \articulate \myMusic
  \midi { }
}

HTH,

Marc
The following produced the desired results for me even though LilyPond 
(2.13.54) issued a warning: "programming error: Going back in MIDI time."


I think the warning will go away if there's some music before the 
grace notes.


music = {
  \tag #'played {\appoggiatura{e16 fis} e16}
  \tag #'printed {e16\prall}
}

\score {
\removeWithTag #'played \music
\layout {}
}
\score {
\removeWithTag #'printed \music
\midi {}
}

Hope this helps,
Mike



___
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: getting repeats to play in midi

[Janek Warchoł]

Hi,

2011/4/13 Tom Cloyd :
> I want to have a PDF score with simple repeats, and a midi file in which all
> repeats are taken. This is revision of a program file which has been working
> perfectly, except that the midi evidence no repeats. I'm achieving all
> engraved repeats using the \repeat volta 2{ music} convention.
>
> I'm using Lilypond ver. 2.13.53. Following the Notation Reference section
> 3.5.4 - "Repeats in MIDI", I have changed the \score blocks in my ly file to
> read:
>
> \score {
>   \context Staff = "guitar" \with {
>   \consists "Span_arpeggio_engraver"
>   }
>   <<
>   %\set Staff.instrumentName="Classical Guitar"  %puts name to left of line
> one
>   \set Staff.midiInstrument="acoustic guitar (nylon)"
>   \set Staff.connectArpeggios = ##t
>   \context Voice = "melody" \melody
>   \context Voice = "alto" \alto
>   \context Voice = "bass" \bass
>   >>
>
>  \layout {
>    indent = 0.0\cm % remove indent on first staff
>    }
> }
> \score {
>   \unfoldRepeats
>   <<
>   %\set Staff.instrumentName="Classical Guitar"  %puts name to left of line
> one
>   \set Staff.midiInstrument="acoustic guitar (nylon)"
>   \set Staff.connectArpeggios = ##t
>   \context Voice = "melody" \melody
>   \context Voice = "alto" \alto
>   \context Voice = "bass" \bass
>   >>
>   \midi { %causes generation of midi score\
>   }
> }

I see two possible reasons. First, you don't initialize a staff in
your midi-score. Second, you use \context while \new might be more
appropriate.

I'd also advice you to write your whole structure to a variable,
instead of writing it twice. I mean something like

structure = {
\new Staff = "guitar" \with { \consists "Span_arpeggio_engraver" }
  <<
  %\set Staff.instrumentName="Classical Guitar"  %puts name to left of line one
  \set Staff.midiInstrument="acoustic guitar (nylon)"
  \set Staff.connectArpeggios = ##t
  \context Voice = "melody" \melody
  \context Voice = "alto" \alto
  \context Voice = "bass" \bass
  >>
}

% And then

\score {
  \structure
  \layout {
  indent = 0.0\cm % remove indent on first staff
}
}

\score {
  \unfoldRepeats \structure
  \midi { %causes generation of midi score\
}
}

Hope this helps,
Janek

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

getting repeats to play in midi

[Tom Cloyd]

I want to have a PDF score with simple repeats, and a midi file in which 
all repeats are taken. This is revision of a program file which has been 
working perfectly, except that the midi evidence no repeats. I'm 
achieving all engraved repeats using the/\repeat volta 2{ music}/ 
convention.


I'm using Lilypond ver. 2.13.53. Following the Notation Reference 
section 3.5.4 - "Repeats in MIDI", I have changed the \score blocks in 
my ly file to read:


\score {
  \context Staff = "guitar" \with {
  \consists "Span_arpeggio_engraver"
  }
<<
  %\set Staff.instrumentName="Classical Guitar"  %puts name to left of 
line one

  \set Staff.midiInstrument="acoustic guitar (nylon)"
  \set Staff.connectArpeggios = ##t
  \context Voice = "melody" \melody
  \context Voice = "alto" \alto
  \context Voice = "bass" \bass
>>

 \layout {
   indent = 0.0\cm % remove indent on first staff
   }
}
\score {
  \unfoldRepeats
<<
  %\set Staff.instrumentName="Classical Guitar"  %puts name to left of 
line one

  \set Staff.midiInstrument="acoustic guitar (nylon)"
  \set Staff.connectArpeggios = ##t
  \context Voice = "melody" \melody
  \context Voice = "alto" \alto
  \context Voice = "bass" \bass
>>
  \midi { %causes generation of midi score\
  }
}

This doesn't work. At the first repeat bar, it sounds like the voices 
are getting overlaid in some strange way. It is aural nonsense. I've 
tried a number of alternative placement of the \unfoldRepeats, and none 
of them have worked.


I don't see what I'm doing wrong, and could use some suggestions, having 
never before attempted this.


Thanks in advance.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Overture to Lilypond converter

[Ben Luo]

Dear Alberto,

It's great. I am promoting lilypond to my Chinese friends. Normally
they have tons of files in ove format. They do not want to change to
lilypond or other GUI programs based on lilypond. Your program should
be helpful.

benluo

On Tue, Apr 12, 2011 at 1:31 AM, Alberto Vignani
 wrote:
> Hello all,
>
> I have made available the latest version of my Overture 4.x to XML/Lilypond
> converter (running under Windows only) on SourceForge
> (http://sourceforge.net/projects/ove2xmly/).
> A first version I released in 2009 converted Overture files only to
> MusicXML; but because of lack of needed features, bugs and the general
> ugliness of editing under Finale I switched to Lilypond, and, up to now, I'm
> quite satisfied with the results.
>
> Alberto
>
>
> ___
> 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

Stacked markup problem

[Jesse Engle]

I'm having an issue with stacking markup text in the correct order. The 
example input follows.


%%%
\version "2.12.3"

\new DrumStaff \new DrumVoice \drummode {
  \stemUp
  sn4:16_"L"_"R" ~ sn4->_"L"_"R"
  sn4:16_"R"_"L" ~ sn4->_"R"_"L"
}
%%%

What I wanted was for the first row of text to read "L L R R," and the 
second row to read "R R L L", but Lilypond seems to have a different 
means of choosing the display order. Is there any way to override this, 
or is it a bug?


Thanks in advance...Jesse

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

score transposition problem

[Tom Cloyd]

I have a simple problem which I've never before faced, and I'm hoping 
there exists a simple solution about which someone can tell me.


I play and write music for classic guitar, so I use "\clef "treble_8"" 
in my scores (classic guitar sounds an octave lower than the music 
notation).


I want to arrange a Bach chorale for guitar. My score for the chorale is 
a nightmare. I can barely read bass clef, and can do that in my mind, 
but the scores for soprano, alto, and tenor all use C-clefs, and in a 
way that each score must be read in a unique way. I've never before seen 
a score like this. The notes fit nicely on the staff, but I cannot read 
them without a lot of mental gymnastics.


Is there a way simply to input the notes to a lilypond file as if they 
were in my normal G-clef, such that, for example, the F-clef for the 
bass part, where the note is placed on the top line of the staff (an A), 
I would record it as an F, then magically move the notes up or down 
enough semi-tones to get to a correct placement on the treble_8 clef, at 
which point I add key signature to my *.ly file and I'm ready to begin 
my transposition, using the PDF output to play from...?


This is what I'd do mentally, if that were all I COULD do, but it hurts 
my brain to think about doing this for all the parts, using C-clefs 
which are placed wherever it was convenient to place them by the 
composer (I wonder if Bach did this, or was it someone else...?).


The more I think about this the more I think there must be a way to do 
it, and only using Lilypond, but I don't know what it might be.


I look forward to the response of this forum, which I have to say is 
without doubt the most helpful of the many to which I belong.


t.


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: [tablatures] Re: dampened symbol in tablature when using fonts other than Feta

[Carl Sorensen]

On 4/12/11 3:28 PM, "Federico Bruni"  wrote:

> Il giorno dom, 10/04/2011 alle 11.53 +0200, Federico Bruni ha scritto:
>> I use a different font for TabStaff:
>> 
>> \override TabStaff.TabNoteHead #'font-name = #"Nimbus Sans L Bold"
>> 
>> But when a score contains \deadNote I'm forced to comment the line above
>> and switch back to Feta, otherwise lilypond can't find noteheads.s2cross
>> (the Feta glyph for dampened notes).
>> 
>> There's any workaround which allows to have both (different font and
>> cross glyph on TabStaff)?

How about redefining \deadNote so it contains

\once \override TabStaff.TabNoteHead #'font-name = #"Feta"


HTH,

Carl


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: dampened symbol in tablature when using fonts other than Feta

[Federico Bruni]

Il giorno dom, 10/04/2011 alle 11.53 +0200, Federico Bruni ha scritto:
> I use a different font for TabStaff:
> 
> \override TabStaff.TabNoteHead #'font-name = #"Nimbus Sans L Bold"
> 
> But when a score contains \deadNote I'm forced to comment the line above
> and switch back to Feta, otherwise lilypond can't find noteheads.s2cross
> (the Feta glyph for dampened notes).
> 
> There's any workaround which allows to have both (different font and
> cross glyph on TabStaff)?
> 
> Thanks,
> Federico

Maybe my question is not clear? Or am I just spoiled by the quick
answers I'm used to get in this mailing list?

I think this is an issue, unless I'm missing something.
Let's say I want to write a tablature book using a different font for
tablature. If just one song in the book contains \deadNote, I'm forced
to use Feta in all the songs; or just in that song, losing consistency
with the rest.

Here's a minimal example.
Please let me know what you think about it.


\version "2.13.58"

music = \relative c' {
  % try any font in your system other than Feta
  \override TabStaff.TabNoteHead #'font-name = #"Nimbus Sans L Bold"
  c4 d \deadNote dis e |
}

\score {
  \new StaffGroup <<
\new Staff { \clef "G_8" \music }
\new TabStaff { \clef "moderntab" \music }
  >>
}


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Your address goes wrong, so I have to reply this way

[Janek Warchoł]

2011/4/11 胡海鹏 - Hu Haipeng 
>
> Thanks. The example is quite large, so I'm sending the paper block, not so 
> complicated:
>
> \paper {
>   left-margin = 40\mm
>   right-margin = 10\mm
>   two-sided = ##t
>   inner-margin = 40\mm
>   outer-margin = 10\mm
>   print-first-page-number = ##t
> }
>
> Must I comment out the first two?

No.

> How does binding offset work?

It is added to inner-margin. I guess we won't need it after all.

Hmm. I don't know what you want to achieve and i don't see your score,
but i suppose you need to use a non-zero value of short-indent to make
room for the instrument names - this should fix your problem. (also,
inner-margin = 40\mm and outer-margin = 10\mm look like very strange
values to my eyes...)

Try compiling examples below and se if that helps you.

 first example 

\paper {
  two-sided = ##t
  inner-margin = 40\mm
  outer-margin = 10\mm
  print-first-page-number = ##t
}

{ \set Staff.instrumentName = "full instrument name" \set
Staff.shortInstrumentName = "short name" \repeat unfold 300 { c' e'
c'' g' } }


 second example 

\paper {
  two-sided = ##t
  indent = 35\mm
  short-indent = 20\mm
  inner-margin = 20\mm
  outer-margin = 10\mm
  print-first-page-number = ##t
}

{ \set Staff.instrumentName = "full instrument name" \set
Staff.shortInstrumentName = "short name" \repeat unfold 300 { c' e'
c'' g' } }


Hope this helps,
Janek

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: [tablatures] Re: dampened symbol in tablature when using fonts other than Feta

[Federico Bruni]

Il giorno mar, 12/04/2011 alle 15.38 -0600, Carl Sorensen ha scritto:
> How about redefining \deadNote so it contains
> 
> \once \override TabStaff.TabNoteHead #'font-name = #"Feta" 

Thanks.
However, I'm not sure if I know how to redefine existing commands.
The following code is not working, because it prints the normal notehead
(instead of the crosshead) in both Staff and Tabstaff.

... maybe I've overwritten the command instead of just adding the
override?


\version "2.13.58"

deadNote = {
  \once \override TabStaff.TabNoteHead #'font-name = #"Feta"
}

music = \relative c' {
  % try any font in your system other than Feta
  \override TabStaff.TabNoteHead #'font-name = #"Nimbus Sans L Bold"
  c4 d \deadNote dis e |
}

\score {
  \new StaffGroup <<
\new Staff { \clef "G_8" \music }
\new TabStaff { \clef "moderntab" \music }
  >>
}


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: How can I get good layout and good midi without writing everything twice?

[Michael Ellis]

On Tue, Apr 12, 2011 at 12:38 PM, Helge Hafting wrote:

> What I need, is to get the midi output for
>  \appoggiatura{e16 fis} e16
> but the layout for
>  e16\prall
>


Hi Helge,
You could use tags. The following produced the desired results for me even
though LilyPond (2.13.54) issued a warning: "programming error: Going back
in MIDI time."

I think the warning will go away if there's some music before the grace
notes.

music = {
  \tag #'played {\appoggiatura{e16 fis} e16}
  \tag #'printed {e16\prall}
}

\score {
\removeWithTag #'played \music
\layout {}
}
\score {
\removeWithTag #'printed \music
\midi {}
}

Hope this helps,
Mike
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: [tablatures] Re: dampened symbol in tablature when using fonts other than Feta

[Carl Sorensen]

On 4/12/11 4:21 PM, "Federico Bruni"  wrote:

> Il giorno mar, 12/04/2011 alle 15.38 -0600, Carl Sorensen ha scritto:
>> How about redefining \deadNote so it contains
>> 
>> \once \override TabStaff.TabNoteHead #'font-name = #"Feta"
> 
> Thanks.
> However, I'm not sure if I know how to redefine existing commands.
> The following code is not working, because it prints the normal notehead
> (instead of the crosshead) in both Staff and Tabstaff.
> 
> ... maybe I've overwritten the command instead of just adding the
> override?

That's right.

Look in ly/property-init.ly for the definition of \deadNote, and duplicate
it, but with the override added.

HTH,

Carl


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lilypond with Cubase/DAW for Musical

[Jan Nieuwenhuizen]

Nils Hammerfest writes:

> How is integration possible at all with the GPL?

By using mere aggregation.  Possibly "integration" is not the best
chosen word.

Jan.

> On Tue, 12 Apr 2011 20:01:06 +0200
> Jan Nieuwenhuizen  wrote:
>
>> JCHarris Music writes:
>> 
>> > I have been looking at LilyPond, which produces marvelous looking
>> > output
>> 
>> Nicest would be to integrate LilyPond with Cubase, somehow.  You could
>> always do a feature-request with Cubase or ask on a Cubase forum.  I'm
>> currently working on LilyPond integration with FL Studio.
>> 
>> Greetings,
>> Jan
>> 
>> -- 
>> Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
>> Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  
>> 
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> http://lists.gnu.org/mailman/listinfo/lilypond-user
>

-- 
Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lilypond with Cubase/DAW for Musical

[Nils]

How is integration possible at all with the GPL?

On Tue, 12 Apr 2011 20:01:06 +0200
Jan Nieuwenhuizen  wrote:

> JCHarris Music writes:
> 
> > I have been looking at LilyPond, which produces marvelous looking
> > output
> 
> Nicest would be to integrate LilyPond with Cubase, somehow.  You could
> always do a feature-request with Cubase or ask on a Cubase forum.  I'm
> currently working on LilyPond integration with FL Studio.
> 
> Greetings,
> Jan
> 
> -- 
> Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
> Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  
> 
> ___
> 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: Lilypond with Cubase/DAW for Musical

[Nils Hammerfest]

How is integration possible at all with the GPL?

On Tue, 12 Apr 2011 20:01:06 +0200
Jan Nieuwenhuizen  wrote:

> JCHarris Music writes:
> 
> > I have been looking at LilyPond, which produces marvelous looking
> > output
> 
> Nicest would be to integrate LilyPond with Cubase, somehow.  You could
> always do a feature-request with Cubase or ask on a Cubase forum.  I'm
> currently working on LilyPond integration with FL Studio.
> 
> Greetings,
> Jan
> 
> -- 
> Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
> Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  
> 
> ___
> 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: Lilypond with Cubase/DAW for Musical

[Jan Nieuwenhuizen]

JCHarris Music writes:

> I have been looking at LilyPond, which produces marvelous looking
> output

Nicest would be to integrate LilyPond with Cubase, somehow.  You could
always do a feature-request with Cubase or ask on a Cubase forum.  I'm
currently working on LilyPond integration with FL Studio.

Greetings,
Jan

-- 
Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

How can I get good layout and good midi without writing everything twice?

[Helge Hafting]

I know that a simple melody is easy, just use layout{} and \midi{} to 
get both. It is not always that easy though.


I am typing some traditional folk music into lilypond. In the original 
manuscript, grace notes is used to specify how some pralls are to be 
played. After a few of these constructs, a prall symbol (black zigzag 
line above the staff) is used instead.


This saves space. And according to a musician friend, it makes life 
easier for the musician too. If grace notes were used all the way, the 
musician would have to read closely in case there were any subtle 
differences along the way. But using trill symbols, the musician

knows to play every trill the same way.

Now the problem: I can reproduce the look, and get nice sheet music. But 
I am not much of a musician myself, so I listen to the midi. But 
lilyponds midi output does not interpret a prall as "play the same 
sequence of grace notes as last time".


If I write the grace notes every time, the sheet music does not look so 
good. I could write the piece twice - once for print and once for midi. 
Cut & paste means it won't be that much work initially. But then the two 
pieces could get out of sync, with errors corrected in one and not the 
other.


What I need, is to get the midi output for
 \appoggiatura{e16 fis} e16
but the layout for
  e16\prall

Is there a way to achieve this? Without having two copies
of all the notes?



The original can be found at the Petrucci Music Library
http://imslp.org/wiki/Special:ImagefromIndex/63468
page 3.

Helge Hafting

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Is pagination quadratic?

[Henning Hraban Ramm]

Am 2011-04-12 um 11:47 schrieb Mark Austin:

Is it possible to switch of pagination completely, and rely on manual
breaks? To put this in context, I'm compling a book of folk tunes.
These tend to be 2-4 (very rarely more) lines long. I'd like them in
alphabetical order, but with individual tunes not split over pages,
and wouldn't mind a layout rather more cramped than Lilypond usually
likes. As it is, even with minimal page breaking, I end up shuffling
tunes around to improve the layout


Are you sure you don’t want to use lilypond-book (i.e. LaTeX) or an  
other program to do your layout?


I typeset my songbooklets with ConTeXt, and I take it for granted that  
there’s no perfect and automatical solution for page layout, esp. if  
lots of graphics (or tunes) are involved.


My TeX workflow allows for re-compiling only changed tunes, and you  
get a ToC for free. (But stuffing several small songs on a double page  
or patching remaining white space with pictures is sometimes a pain...)



Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Forced Tie between non-equal notes?

[David Kastrup]

"bruys ."  writes:

> Dear Nils,
>
> A Google search for ''ties Lilypond enharmonic" shows that this topic
> has come up a number of times in the past. 
> Even though ties between enharmonic notes are sometimes used by
> composers, and that an example is given in Gardner Read's book, the
> answer seems to be that, for Lilypond, a tie must go between two notes
> placed on the same vertical height on the staff.

Not really.

\new Voice { c'2~ \clef bass c'2 }

brings across the meaning reasonably well.  I am not sure the result is
correct according to typesetting doctrine, but at least in this case, I
find it works for conveying the relevant information.

-- 
David Kastrup


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Forced Tie between non-equal notes?

[bruys .]

P.S. Sorry, the closing brace '}' was missing.
>
>
> \version "2.12.3"
> % enharmonic ties
>
> \score {
>   {  ces''2 ~  ces''2
>  ces''2(   b'2)
>  <<
>  {  ces''2(   ces''2)
>  }
>  \\
>  { s2.
>\once \override Stem #'transparent = ##t
>\once \override  NoteHead #'font-size = #-3  % nb \tweak does
> % not work here
>\parenthesize b'4
>  }
>  >>
>  \oneVoice
>  des''2 ~  des''2
>  cis''2(   des''2)
>
>   }
>


> }
>
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Overture to Lilypond converter

[Brett McCoy]

Thank you for making this! I have a bunch of Overture files and a
non-working Overture application and have been lamenting the fact some of my
older pieces were lost.

On Mon, Apr 11, 2011 at 1:31 PM, Alberto Vignani <
alberto.vign...@fastwebnet.it> wrote:

> Hello all,
>
> I have made available the latest version of my Overture 4.x to XML/Lilypond
> converter (running under Windows only) on SourceForge (
> http://sourceforge.net/projects/ove2xmly/).
> A first version I released in 2009 converted Overture files only to
> MusicXML; but because of lack of needed features, bugs and the general
> ugliness of editing under Finale I switched to Lilypond, and, up to now, I'm
> quite satisfied with the results.
>
> Alberto
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> http://lists.gnu.org/mailman/listinfo/lilypond-user
>



-- 
Brett W. McCoy -- http://www.electricminstrel.com

"In the rhythm of music a secret is hidden; If I were to divulge it, it
would overturn the world."
-- Jelaleddin Rumi
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: status of release (was: status of mutopia project)

[bruys .]

Dear Keith,

Thank you, your reply is appreciated.

It seems like there a bit of a hole in the documentation with respect to the
Scheme interface, but no doubt a difficult one to fill. Apart from knowing
what an S-expression is, and what cons means, I don't know much Scheme. One
day, I'll have to try and dig through those source files.

Regards,
Bruys

On Tue, Apr 12, 2011 at 3:21 PM, Keith OHara  wrote:

> bruys .  gmail.com> writes:
>
> >  I wondered if
> > \partcombine is supposed to work with more than two parts. The
> > documentation refers to combining "several" parts, but only shows
> > examples with two parts.
>
> \partcombine does not try to combine more than two parts.
>
> > P.S. As an aside, the Scheme function context-spec-music is referred
>
> Many of the less-used Scheme functions are not documented in the manual.
> The Scheme source files come with the binary distribution, so users who can
> read
> Lisp-like code can usually understand them that way.
>
>
> ___
> 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: Is pagination quadratic?

[Phil Holmes]

- Original Message - 
From: "Mark Austin" 

To: 
Sent: Tuesday, April 12, 2011 10:47 AM
Subject: Re: Is pagination quadratic?



On 11 April 2011 18:13, Valentin Villenave  wrote:
On Sat, Apr 9, 2011 at 7:49 PM, Victor Eijkhout  
wrote:
So now I have this exercise study that generates close to 2000 scales 
like "\relative c { a b c d e f g a g f e d c b a}". And "finding the 
ideal number of pages" takes an ungodly amount of time. Minutes. 
Probably over 10.


That's to be expected: page-breaking is *the* most time-consuming
process in LilyPond. Using
http://lilypond.org/doc/v2.13/Documentation/notation/minimal-page-breaking
should be fine and harmless in this specific case.

(On an unrelated note, I recently found that refreshing large PDF
documents takes forever when point-and-click is enabled.)


Is it possible to switch of pagination completely, and rely on manual
breaks? To put this in context, I'm compling a book of folk tunes.
These tend to be 2-4 (very rarely more) lines long. I'd like them in
alphabetical order, but with individual tunes not split over pages,
and wouldn't mind a layout rather more cramped than Lilypond usually
likes. As it is, even with minimal page breaking, I end up shuffling
tunes around to improve the layout

--
Mark Austin


This prevents page breaking.  I assume it stops the calculation, but can't 
be sure:


\override NonMusicalPaperColumn #'page-break-permission = ##f"



--
Phil Holmes



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Forced Tie between non-equal notes?

[bruys .]

Dear Nils,

A Google search for ''ties Lilypond enharmonic" shows that this topic has
come up a number of times in the past.
Even though ties between enharmonic notes are sometimes used by composers,
and that an example is given in Gardner Read's book, the answer seems to be
that, for Lilypond, a tie must go between two notes placed on the same
vertical height on the staff.

But, no matter, a slur is virtually the same thing as a tie except that it
is usually placed further away from the noteheads. But you can tweak the
shape of a slur, using a similar method to that shown in the recent
correspondence concerning my question about divided ties.

A tie between enharmonic notes is often going to have to contend with
accidentals, so its shape may be a bit awkward, anyway. In vocal writing, a
tiny cue note is preferable.

The following example shows ties, slurs, and the cue note method.

Regards,
Bruys



\version "2.12.3"
% enharmonic ties

\score {
  {  ces''2 ~  ces''2
 ces''2(   b'2)
 <<
 {  ces''2(   ces''2)
 }
 \\
 { s2.
   \once \override Stem #'transparent = ##t
   \once \override  NoteHead #'font-size = #-3  % nb \tweak does
% not work here
   \parenthesize b'4
 }
 >>
 \oneVoice
 des''2 ~  des''2
 cis''2(   des''2)
  }

On Tue, Apr 12, 2011 at 7:41 AM, Nils  wrote:
> Hello list,
>
> for some reasons, mostly educational and theoretic, I want to create a tie
between two different notes: enharmonic siblings. Between dis and ees for
example. This seems to be not possible with a default Lilypond Tie (which is
a very good setting!). Is there a way to force a tie to the next note or at
least get the graphics without creating an svg curve through coordinates?
>
> Nils
>
> ___
> 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: Is pagination quadratic?

[Mark Austin]

On 11 April 2011 18:13, Valentin Villenave  wrote:
> On Sat, Apr 9, 2011 at 7:49 PM, Victor Eijkhout  wrote:
>> So now I have this exercise study that generates close to 2000 scales like 
>> "\relative c { a b c d e f g a g f e d c b a}". And "finding the ideal 
>> number of pages" takes an ungodly amount of time. Minutes. Probably over 10.
>
> That's to be expected: page-breaking is *the* most time-consuming
> process in LilyPond. Using
> http://lilypond.org/doc/v2.13/Documentation/notation/minimal-page-breaking
> should be fine and harmless in this specific case.
>
> (On an unrelated note, I recently found that refreshing large PDF
> documents takes forever when point-and-click is enabled.)

Is it possible to switch of pagination completely, and rely on manual
breaks? To put this in context, I'm compling a book of folk tunes.
These tend to be 2-4 (very rarely more) lines long. I'd like them in
alphabetical order, but with individual tunes not split over pages,
and wouldn't mind a layout rather more cramped than Lilypond usually
likes. As it is, even with minimal page breaking, I end up shuffling
tunes around to improve the layout

-- 
Mark Austin

--
For Whigs admit no force but argument
--

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lilypond with Cubase/DAW for Musical

[Phil Holmes]

- Original Message - 
From: "JCHarris Music" 

To: 
Sent: Tuesday, April 12, 2011 9:08 AM
Subject: Lilypond with Cubase/DAW for Musical



Hi,

I am working a large piece with voice, dialogue, etc. (a 'musical'). I 
have been using Cubase to mock up the various music bits. Surprisingly, I 
have found the latest scoring functions to be not half bad at all. 
Unfortunately, it still has some serious shortcomings in terms of adding 
lyrics, dialogue, stage directions and so on... the stuff that has to be 
in the final score and book.


Ideally, I would love it if Cubase had features for all that stuff, but 
until such a day, I'm wondering if anyone here has experience in using 
Cubase for this sort of thing and how you handle this.


I have been looking at LilyPond, which produces marvelous looking output, 
but it looks like it would be a terror to input this large project into 
directly. Fortunately, it does import MusicXML. So I am thinking of trying 
to export from Cubase as MusicXML into LilyPond and then add the other 
lyrics, stage directions, etc. in Lilypond.


Any suggestions on doing such a workflow?



I do something similar using Noteworthy. 
(http://www.noteworthysoftware.com/)  I notate using Noteworthy, export 
using its text format and then use a self-written program to convert to 
LilyPond.  The single piece of advice I would give is to try to edit the 
LilyPond files as little as possible - I almost never touch them directly - 
I put all my annotations in Noteworthy, using hidden text as a code to 
transfer to LilyPond.  That way, I have only a single source of data.


I'm rather guessing this will be impossible with Cubase, but I think the 
principle is a good one.



--
Phil Holmes


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Multiple Stanzas

[Trevor Daniels]

Michael

You should be able to adapt the following to do what you want.

Trevor

\score {
 <<
   \new Staff {
 \new Voice = "melody" {
   \relative c'' {
 a4 a a a
 b4 b b b
 a4 a a a
   }
 }
   }
   \new Lyrics \lyricsto "melody" {
 Com -- mon sec -- tion.
 <<
{ The first time words. }
\new Lyrics {
  \set associatedVoice = "melody"
  Sec -- ond time words.
}
\new Lyrics {
  \set associatedVoice = "melody"
  Third _ __ time words.
}
 >>
 Com -- mon sec -- tion.
   }
 >>
}

- Original Message - 
From: "Michael Dykes" 

To: "lilypond-user" 
Sent: Tuesday, April 12, 2011 5:20 AM
Subject: Multiple Stanzas


I have an attached file (as always, I know) - and I where the 
lyrics say
"Who art ri-sen from the dead" - just under those words ONLY< I 
wish to

place 2 other sets of lyrics, namely:

"Who art won-drous in Thy saints"
and
"Through the prayers of the Theo-to-kos"

I have been looking at the section on stanzas, but so far have not 
found
this particular challenge. Any help, or someone to point me to the 
right

place would be appreciated. Thanks.

--
In Christ,
Michael D








___
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 with Cubase/DAW for Musical

[JCHarris Music]

Hi,

I am working a large piece with voice, dialogue, etc. (a 'musical'). 
I have been using Cubase to mock up the various music bits. 
Surprisingly, I have found the latest scoring functions to be not 
half bad at all. Unfortunately, it still has some serious 
shortcomings in terms of adding lyrics, dialogue, stage directions 
and so on... the stuff that has to be in the final score and book.


Ideally, I would love it if Cubase had features for all that stuff, 
but until such a day, I'm wondering if anyone here has experience in 
using Cubase for this sort of thing and how you handle this.


I have been looking at LilyPond, which produces marvelous looking 
output, but it looks like it would be a terror to input this large 
project into directly. Fortunately, it does import MusicXML. So I am 
thinking of trying to export from Cubase as MusicXML into LilyPond 
and then add the other lyrics, stage directions, etc. in Lilypond.


Any suggestions on doing such a workflow?

TIA,

---JC


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user